Tag: featured

‘Transformers: War for Cybertron’ Teaser & Details Revealed

Netflix and Hasbro, in partnership with Rooster Teeth, released the first teaser trailer for Chapter One of the highly anticipated Transformers: War for Cybertron Trilogy during New York Toy Fair. The series, set to premiere exclusively on Netflix, raises the stakes of the Autobot and Decepticon war with Chapter One having six 22-minute episodes, complete with a new animation look and style that presents the bots like you’ve never seen them before.

The Transformers: War for Cybertron Trilogy plunges fans deep into events that live at the heart of this legendary franchise, with the first chapter, Siege, shining a spotlight on a critical timeframe in Transformers history on Cybertron.

Siege begins in the final hours of the devastating civil war between the Autobots and Decepticons. The war that has torn apart their home planet of Cybertron is at a tipping point. Two leaders, Optimus Prime and Megatron, both want to save their world and unify their people, but only on their own terms. In an attempt to end the conflict, Megatron is forced to consider using the Allspark, the source of all life and power on Cybertron, to “reformat” the Autobots, thus “unifying” Cybertron. Outnumbered, outgunned, and under siege, the battle-weary Autobots orchestrate a desperate series of counterstrikes on a mission that, if everything somehow goes right, will end with an unthinkable choice: kill their planet in order to save it.

Rooster Teeth (RWBY, gen:LOCK) is producing the original series for Netflix, and Polygon Pictures (Godzilla, Knights of Sidonia) is serving as the animation studio. Transformers veteran F.J. DeSanto (Transformers: Titans Return, Transformers: Power of the Primes) is serving as showrunner on the series with several contributing writers, including George Krstic (Megas XLR), Gavin Hignight (Transformers: Cyberverse) and Brandon Easton (Agent Carter, Transformers: Rescue Bots).

“We’re thrilled to be working with Rooster Teeth, Netflix and Hasbro to bring this fan-oriented ‘more than meets the eye’ story to life,” said Shuzo John Shiota, Polygon Pictures’ President and CEO. “The Transformers universe has so many rich characters and engaging stories. Getting the opportunity to be part of the team bringing the robots in disguise to life in this new trilogy is unbelievable.”

“The Transformers brand is a global phenomenon with toys, consumer products, films, television shows, and literature, resonating with millions of passionate fans around the world,” said Tom Warner, Senior Vice President for the Transformers franchise for Hasbro. “This brand new Netflix series will add to the incredible slate of Transformers offerings with a truly unique story that will delight both existing fans and those being introduced to the wonder of robots in disguise.”

“Transformers: War for Cybertron Trilogy marks the inaugural production for our Rooster Teeth Studios division and we’re proud to be partnering with and entrusted by Hasbro and Netflix,” said Matt Hullum, Rooster Teeth co-founder and Chief Content Officer. “As fans of these characters, it’s been a joy bringing our storytelling and animation expertise to this project. This teaser trailer is just a taste of what’s to come in this series, and we can’t wait to see what the fans think, especially our Rooster Teeth community!”

The series voice talent cast includes Jake Foushee (Optimus Prime), Jason Marnocha (Megatron), Linsay Rousseau (Elita-1), Joe Zieja (Bumblebee), Frank Todaro (Starscream), Rafael Goldstein (Ratchet), Keith Silverstein (Jetfire), Todd Haberkorn (Shockwave, Red Alert), Edward Bosco (Ultra Magnus, Soundwave), Bill Rogers (Wheeljack), Sophia Isabella (Arcee), Brook Chalmers (Impactor), Shawn Hawkins (Mirage), Kaiser Johnson (Ironhide), Miles Luna (Teletraan I, Cliffjumper) and Mark Whitten (Sideswipe, Skywarp).

Further details on Chapter Two: Earthrise and the TBA Chapter Three coming soon.

Transformers: War for Cybertron Trilogy

Transformers: War for Cybertron Trilogy

Transformers: War for Cybertron Trilogy

Transformers: War for Cybertron Trilogy

February 23, 2020
Quibi Greenlights Stop-Mo ‘Micro Mayhem’ from Stoopid Buddy & eOne

Quibi announced the greenlight of Micro Mayhem, an epic, stop-motion animation series by Stoopid Buddy Stoodios and eOne. Created and executive produced by Eric Towner (Robot Chicken), Micro Mayhem is a series of over-the-top shorts where the cars are the characters. Executive producers for the series are Jon Favreau’s Golem Creations, Seth Green, John Harvatine IV, Matthew Senreich and Chris Waters.

Inspired by the original Micro Mayhem viral short created by Towner and John Harvatine IV, the cars set the stage with an immense amount of attitude and personality in this dialogue-free grindhouse action series. Each of the short-form episodes will be self-contained.

“Micro Mayhem brings to life the insane car chases I imagined as a kid through the combination of stop-motion artistry and cutting-edge tech,” said Towner. “We’re thrilled to be teaming with Golem Creations, eOne and Quibi to bring this dream project to life.”

“Quibi’s focus on micro storytelling provides the perfect platform for Micro Mayhem. We are excited to work with Eric and his team at Stoopid Buddy Stoodios, to bring this wild ride to audiences one turn at a time,” added Greg Clayman, Senior Vice President, New Platforms and Strategic Partnerships, Film and Television at eOne.

Synopsis: Micro Mayhem is a series of over-the-top shorts that showcase a host of original iconic cars with as much personality as they have power. The series combines miniature filmmaking and stop-motion artistry in a wild (and comically violent) ride like no other!

Quibi launches April 6. More info at quibi.com

February 21, 2020
Critical Role & Amazon Tap Acclaimed Writers for ‘Legend of Vox Machina’

Amazon Studios, Critical Role and Titmouse today announced the writing team behind the hugely anticipated adult animated series Critical Role: The Legend of Vox Machina, an action-comedy based on the universe of Critical Role, a leading story-driven and world-building digital media brand.

Helming the story development and script writing for the series are industry veteran writers Brandon Auman (Star Wars Resistance, Teenage Mutant Ninja Turtles), who is also executive producing, Emmy Award winner Ashly Burch (Adventure Time), Jennifer Muro (Star Wars: Forces of Destiny, Justice League Action), WGA Award winner Marc Bernardin (Castle Rock, Carnival Row), Independent Spirit Award nominee Chris “Doc” Wyatt (Star Wars Resistance, Marvel’s Ultimate Spider-Man), Emmy Award nominee Kevin Burke (Star Wars Resistance, Marvel’s Rocket & Groot), Daniel Thomsen (Westworld), Mae Catt (Transformers: Cyberverse, Marvel Rising), with Eugene Son (Avengers Assemble, Ben 10: Omniverse) as story editor and Meredith Kecskemety (Niko and the Sword of Light) as writer’s assistant.

The cast of Critical Role, Laura Bailey, Taliesin Jaffe, Ashley Johnson, Liam O’Brien, Matthew Mercer, Marisha Ray, Sam Riegel and Travis Willingham, will reprise their roles in the series as well as executive produce and help guide the story and adapt their characters for the screen. Titmouse animation studio co-founder Chris Prynoski (Metalocalypse, Big Mouth) serves as executive producer with Sung Jin Ahn (Niko and the Sword of Light) as supervising director.

Critical Role: The Legend of Vox Machina follows a group of second-rate adventurers on a quest to save the realm from terrifying monsters and dark magical forces. Throughout the first season, our characters will face undead giants, overthrow a sinister necromancer, and confront a powerful curse that has taken root inside their own group. Through it all, they learn how to function as a team, and discover they’re much more than that: they’re family.

Earlier this year, Critical Role launched The Legend of Vox Machina as a Kickstarter campaign for a 22-minute animated special produced by Emmy Award winning studio Titmouse, reaching their original funding goal within minutes. The campaign continued to gain traction thanks to Critical Role’s passionate fanbase, becoming the most-funded TV, film or animated project in Kickstarter history and raising over $11.3M. The fan support led to an increase of 24 episodes across two seasons, with Amazon Prime Video serving as the exclusive streaming home for the animated series.

Check out the project’s Kickstarter page for more info.

February 21, 2020
‘Sonic’ to Race ‘Call of the Wild’ This Weekend

The big race this weekend is between Sonic the Hedgehog and the CG-animated dog featured in the Harrison Ford-starring feature Call of the Wild. The two movies will be fighting for the top spot in theaters nationwide.

Call of the Wild, which is loosely based on the popular book by Jack London, is the newcomer to the scene. The pic is directed by none other than animation veteran Chris Sanders, who is best known for directing popular movies such as Lilo & Stitch, How to Train Your Dragon and The Croods. The family picture is a retelling of the 1903 adventure novel about a kind prospector and a dog named Buck who bond during the Yukon Gold Rush. Insiders are predicting that the Disney release (a former Fox feature) will land in the No. 2 spot, with $15 million to $20 million first week. The film’s visual effects were handled by Moving Picture Company, Soho VFX and Technoprops.

Call of the Wild is currently scoring 67% on rottentomatoes.com, with most critics praising Ford’s performance, but questioning the decision to use a CG-animated dog instead of a real canine as in previous adaptations of the property. As Joe Morgenstern of Wall Street Journal notes, “We project our feelings on real dogs, in life or on the screen, because we love them for their limitations as well as their abilities. Buck is so precocious, such a relentlessly clever construction, that he leaves nothing to our imagination. ” Meanwhile, Ben Kenigsberg of The New York Times writes, “This Call of the Wild, however defanged and updated, doesn’t lack for exciting canine brawls or tense rescues from frozen waters. It also doesn’t lack for an almost soothing corniness.”

“Even with Harrison Ford at his droll, grumpy old-man best, this new version of Jack London’s classic man-meets-dog adventure digitizes its canine hero and loses something vital in this process,” writes Rolling Stone’s Peter Travers. Matthew Dougherty of IGN Movies notes, “Bad CGI takes away everything real about the relationship between man and dog in this inherently flawed, technically focused adaptation of Jack London’s age-old classic.”

That’s why chances of Paramount’s surprise hit Sonic the Hedgehog staying in the top spot this weekend are very high. The movie registered the highest opening for a video-game adaptation of all time last weekend, and is expected to make anywhere between $28 million to $30 million and bring its cume to $100 million this weekend.

Sonic

February 21, 2020
Aaron Wood Talks Animation-Festivals.com at Its 10th Anniversary

Producer Aaron Wood discusses animation-festivals.com, his helpful festival website, and how to make a global impact with your short.

Animag: Please tell us about the origins of your website, animation-festivals.com.

Wood: It started when my production company was submitting our first short film. My director and I had spent two years researching and submitting to every film festival we could find. This involved a lot of Googling and trawling through live-action film festival lists, identifying those with an animation category. There were a few websites that listed some festivals, but the information became quickly dated. Once our submission period was over, we were left with a detailed spreadsheet of about 300 festivals that were specifically for animation, or had an animation category. Our first thought was just to add this list, or the spreadsheet, to our blog, in the hope that it might help others who were submitting their first film; but we realized this information would also soon be out of date.

animation-festivals.com was born when we had the idea of creating a website similar to Wikipedia – a listing of all these festivals but with the ability for anyone (not just the festival director) to create an account and edit any out of date information. Despite early worries that this kind of system could be abused, this has never been the case – the animation community are quite an honest lot! It took a while to get traction, but now that the majority of festivals know about us, their profiles are updated regularly – and we thank them for this continued support.

We review the site twice a year to check for any festival listings over two years old, any dead links, and remove festivals that have sadly ceased to be.

How has the industry and your site changed and evolved over the past 10 years?

The site has fundamentally stayed the same. At the heart of it, we have always given the user what they need: the festival name, festival dates and deadline. We always welcome user feedback and try to implement any useful or interesting suggestions, which have led to us adding our downloadable festival spreadsheet list; plus, information such as whether the festival includes a marketplace, or whether they are recognized by ASIFA.

From an industry point of view, we have seen the categories and types of award options open up a lot more, embracing commercial work and new technology with categories such as Commissioned Films and VR/Immersive Films. Many festivals have added these categories, allowing a broader variety of short films to be showcased.

One other industry change that has been reflected in our site is how people submit their films now. Ten years ago, festivals were asking for films on DVD and VHS (or even 35mm film!), whereas now it is all online via web forms or submission platforms; which our site links directly to, with FilmFreeway leading the way.

What advice would you offer animation creators who want to enter their shorts or projects in festivals?

I think the key is organization and to have a strategy. It doesn’t have to be anything complex or over the top; just a simple spreadsheet. I believe animation-festivals.com is a good starting point to identify, say, 200 or so possible festivals to enter — then create a spreadsheet and start submitting to the ones with the closest deadlines. On your spreadsheet you should record the festival’s dates, the category entered, whether you have entered your film yet and whether or not it was selected. I know people who have created very elaborate spreadsheets that record everything, but I would advise to keep it simple and just start submitting.

Also, festival submission isn’t a one-off task; you really need to set aside some time every three months for about a year and do a big push with all the festivals that have since opened for submissions.

I would advise not to be disheartened by rejections. Not every festival will be the right fit for your film, and it can be a numbers game – you may submit to 200 and only get selected for 20 – so don’t give up after only a handful of submissions.

There are so many festivals around the world, you could practically do nothing but attend festivals year round … which ones are your favorites and why?

This is true – aside from maybe December, you certainly could bounce from one festival to another all year long!

Of course, festivals exist to showcase films, but I would say my favorite thing about them is how they bring people together in one place (from all over the world) to meet, discuss and “geek out” about all things animation. I think animation is a rather unique industry in that it can feel like a family when you all get together, and for this reason my favorite festivals are those that foster this friendly, inclusive environment; putting an emphasis on informal networking.

There are many that achieve this over the world, but the ones that I regularly attend in my corner of the world (the U.K.) are Manchester Animation Festival, Dublin Animation Film Festival and Cardiff Animation Festival.

One predicament animation creators often face is, should they post their shorts online for free or wait until they are picked for festivals. What do you recommend?

It used to be the case that you submitted to festivals first and waited, say, two years until the festival circuit was over before you posted it online. There was a lot more emphasis on
“premiere status” for films, too.

However, over the past 10 years there has definitely been a shift and it is deemed a lot less important, with the majority of festivals dropping this rule altogether.

As a producer myself, I am now of the opinion to both upload online and submit to festivals simultaneously. I have done so with the past few films that I’ve produced and it did not seem to harm their selection. At the end of the day, filmmakers make these films to be viewed — and online platforms give this added opportunity, which will always be a very different viewing experience to a film festival.

Aaron Wood is the Managing Director and Producer at London animation studio Slurpy Studios which specializes in commercial and entertainment content. When not working on Slurpy, he runs animation-festivals.com which aims to list (and make it easy to find) all festivals that accept animation.

Aaron Wood

February 21, 2020
Spending Where It Matters: Tangent Animation Embraces Virtual Workstations to Focus on Talent and Product

With multiple Annie Award nominations for its work on Next Gen, Tangent Animation has emerged as a rising star. Tangent’s leadership attributes the company’s success to top talent and industry-leading production tools, but also to its use of innovative approaches to driving down production costs, including its use of open source software and cloud technologies.

“When working on Next Gen, we saved $500,000 in licensing fees by using Blender,” said Ken Zorniak, Tangent’s president and CEO, adding that the company was able to invest the savings in software development and in their artists to increase show quality. “And by rendering on Amazon Web Services (AWS) instead of our on-premises services, we quadrupled our capacity — completing 3.5 million hours in just two months.”

The success of rendering on AWS sparked another idea. Why not also move artists’ workstations to AWS?

“Virtual workstations would enable us to avoid the costs of replacing 150 physical workstations nearing end of life,” said Jeff Bell, Tangent’s vice president and COO. What’s more, enabling artists to connect to a virtual workstation from anywhere would make it simpler to work with top talent in any location.

It’s a strategy increasingly used by studios to take advantage of tax incentives and reduce the financial impact of locations in high-rent markets. Jellyfish Pictures, for example, recently opened a location in Sheffield, well away from its London base.

Shifting production to the cloud can also offer advantages in space and energy costs. By locating servers offsite, DNEG was able to save the extra space and costs for power system upgrades that would have been required for its temporary and permanent studios in Montreal.

In deploying remote virtual workstations, however, studios still need to meet a few key requirements. Tangent needed a solution that would support stringent content-security requirements from the Trusted Partner Network (TPN), support Wacom pen-display and tablets, and deliver a great experience anywhere. The company found its solution in Teradici Cloud Access Software.

“We chose Cloud Access Software because it keeps content securely in AWS — never on endpoints — is easy to deploy, and delivers an excellent artist experience with Blender, Houdini and 2D applications like Adobe Photoshop and Substance Designer,” said Bell.

The Teradici solution works with Linux as well as Windows applications, giving post-production and animation studios like Tangent the flexibility to choose the best application for the task regardless of the required operating system.

To test the software, two artists at Tangent used it to produce part of a new animated feature. One artist worked on an ordinary PC; the other on an Intel NUC (4”x 4” mini PC) with a Wacom Cintiq Pro 32. The artists used Blender software running on AWS G4 instances with NVIDIA T4 GPUs. Both testers reported a positive experience, noting specifically that there was no cursor lag on the tablet — a huge plus.

Now Tangent is getting ready to introduce virtual workstations to over 150 artists in its Toronto and Winnipeg studios.

Replacing the physical workstations with virtual workstations on AWS will lower costs. Tangent can spin up virtual machines when needed and spin them right back down when the project is done, paying only for resources actually required. For example, an artist may work on a crowd scene in the morning and a two-character scene in the afternoon. Crowd work requires more GPU power, and the artist can tap into that resource for the task that needs it.

Another major benefit Tangent sees is that moving to virtual workstations simplifies hiring. If the best artist for a job is in Montreal or Vancouver, for example, Tangent can ship a sandwich-size Intel NUC for next-day delivery. And instead of renting a large studio for all artists, Tangent can rent smaller offices by the day for collaborative work. As a result, the company expects to maintain or reduce overall office space over the next two years despite increasing crew size.

In the end, the company benefits by directing its resources where they matter most, said Zorniak. “Managing our IT costs this way leaves more budget for artists and technical staff — leading to a better product.”

February 21, 2020
Justin Bieber Pic ‘Cupid’ Adds Writer Mike Vukadinovich, EP Michael Gracey

Mythos Studios’ debut animated feature Cupid, voice starring Justin Bieber, has brought on screenwriter Mike Vukadinovich (Rememory, Runaways, Kidding) and executive producer Michael Gracey (Rocketman; director, The Greatest Showman). They join previously announced helmer Pete Candeland.

“I couldn’t be more thrilled to welcome Michael and Mike to the Cupid family,” said Candeland. “They bring the highest levels of imagination, brain power and execution to everything they do, and they have always been a personal source of inspiration for me.”

Previously developed by writer Carlos Kotkin from a story adaptation by David Maisel, Cupid will kick of the planned “MythosVerse” cinematic universe inspired by Greek and Roman mythology with an animated take on the god of romantic love.

“The addition of Michael Gracey and Mike Vukadinovich, who have both collaborated closely with our talented director Pete Candeland, creates the perfect team to bring the epic tale of Cupid and Psyche to life,” said Maisel, Mythos Studios chairman and co-founder.

Vukadinovich has been tapped to write a screenplay for Tim Burton’s Beetlejuice 2, while Gracey is set to direct Lionsgate/Avi Arad’s live-action Naruto.

[Source: Hollywood Reporter]

Michael Gracey

Mike Vukadinovich

February 21, 2020
Lonely Bird Tale ‘Nigel’ Flies the Nest with Online Debut

If you’re working through some post-Valentine’s Day ennui, a newly launched short online may offer just the respite you seek. Based on a strange and heartbreaking true story, Natasza Cetner’s Nigel made its ‘net premiere in full this week on Short of the Week.

The short is inspired by the real-life “Nigel,” a lonely gannet living on Mana Island, New Zealand, who fell hopelessly in love with a concrete statue meant to attract his species to the site. His tale of idealisation and delusion, animated for Cetner’s Royal College of Art (U.K.) graduation project, reflects our own human misconceptions in love.

The story of “Nigel the Lonely Gannet” was a viral sensation which came to a mournful close when the gannet was found dead in February 2018, next to the statue that had ensnared his heart. The decoys had been set up on the island in the 1980s and, in 40 years, Nigel was the only gannet to make a life there as a tragic, feathered Pygmalion.

Nigel has been selected for POFF Shorts, Animateka, London Int’l Animation Festival, Anifilm, Tricky Women, Animac and other international festivals.

Natasza Cetner is a Polish animator and illustrator who holds a BA in Animation from University of Westminster (2017) and an MA in Animation from RCA (2019). The director has explored a self-described fascination with “the absurdity of the world around us and the surreal” in previous films Baraa (2018), Nero (2017), Three Tales from Alexandria (2016) and Dreamcaught (2015).

Learn more at www.nataszacetner.com.

February 21, 2020
‘PAW Patrol’ Movie Directed by Cal Brunker Coming in 2021

Leading global children’s entertainment company Spin Master is taking its powerhouse franchise PAW Patrol from the small screen to the big screen. The major motion picture animated feature film, a Spin Master Entertainment production in association with Nickelodeon Movies, will be distributed by Paramount Pictures. The film is slated to arrive in theaters in August 2021 and will be directed by animation veteran Cal Brunker (Nut Job 2: Nutty By Nature; Escape From Planet Earth).

Spin Master Entertainment’s Executive Vice President, Jennifer Dodge, will produce the film and Ronnen Harary, Co-Founder and Co-CEO of Spin Master, Adam Beder, Executive Vice President, Strategic Partnership & Franchise Development for Spin Master, and Peter Schlessel will executive produce.

Representing a new chapter for this continually growing entertainment franchise, the feature film is based on the award-winning, hit preschool series produced by Spin Master Entertainment and broadcast globally by Nickelodeon.

“We are thrilled to partner with Paramount and Nickelodeon to bring the PAW Patrol franchise, and the characters that children love, to the big screen,” said Dodge. “This first foray into the arena of feature film marks a significant strategic expansion for Spin Master Entertainment and our properties. This demonstrates our commitment to harnessing our own internal entertainment production teams to develop and deliver IP in a motion picture format and allows us to connect our characters to fans through shared theatrical experiences.”

“Expanding PAW Patrol into the world of theatricals is a major milestone for this iconic property, and we can’t wait for kids and families everywhere to experience it together,” said Brian Robbins, President, Kids & Family Entertainment, ViacomCBS Domestic Media Networks. ”We are incredibly excited to work with Spin Master Entertainment and our sister division Paramount Pictures on this latest title from the Nickelodeon Movies slate.”

“We are thrilled to be distributing this film and sharing the beloved PAW Patrol universe with audiences around the globe,” said Marc Weinstock, Paramount’s President of Worldwide Marketing and Distribution, and Mary Daily, Co-President of Worldwide Marketing and Distribution.

The PAW Patrol movie is the first of a number of feature films in the works by Spin Master’s Entertainment division.

February 21, 2020
Inspirational ‘Hope Works’ Shorts Launch on Azoomee

Azoomee, the London-based kids’ media company offering safe, positive screen time on all streaming platforms and mobile devices, has partnered with Sky UK & BBC Children’s to bring 12 short films encouraging kindness to its portfolio of shows. The “Hope Works” collection is an ambitious collaboration between children’s broadcasters and media companies from around the world, designed to support the values of tolerance, compassion and understanding through kid-friendly characters who face everyday challenges.

“We’re excited to share these heartfelt videos, which help young people feel hopeful about the world around them,” said Luca Fiore, Head of Content at Azoomee. “The stories connect to what it means to be human, and feature a range of characters that are relatable for kids, which aligns with Azoomee’s mission to foster kindness and empathy.”

“Our partners from around the world have created a set of films which offer reassurance to children at a time when good news seems in short supply,” said Alison Stewart, Hope Works Co-founder with Lucy Murphy (Director of Kids Content, UK & ROI at Sky). “Children are innately hopeful, and our project aims to inspire them to make a difference, no matter how small, to the world they will inherit.”

With themes like “The Power of Why” and “Active Compassion Mode,” the shorts illustrate the message that “little things can make a big difference.” Like Sesame Workshop’s Spread Kindness around the World, which features puppet characters showing small acts of kindness and igniting love all over the world. And Big Bad Boo’s Balloon Girl, which focuses on a young girl who gives up her cherished red balloon in order to soothe a crying baby. Or Corrinne Averiss’ Move Mountain, which is a touching story about a mountain whose greatest wish is to see the sunrise… but he’s facing the wrong way! His friends decide to put on a show for him to illustrate the glory of a sunrise. Across a variety of narratives, the entire slate of videos rolemodel how to be kind.

All 12 Hope Works videos are available alongside thousands of TV episodes, videos and tutorials on Azoomee, along with more than 300 games and interactive activities.

www.azoomee.com | www.hopeworksproject.com

Azoomee “Hope Works”

February 20, 2020
Digital Domain Creates 3D Martin Luther King Jr. for TIME VR Project

TIME’s Emmy Award-winning division TIME Studios has launched a groundbreaking immersive project, The March, which brings the 1963 March on Washington for Jobs and Freedom and Martin Luther King Jr.’s iconic “I Have a Dream” speech to virtual reality for the first time. The project transformed intense research into the event and TIME’s own materials to create a 10’30” location-based experience within a 10 x 15 ft. virtual slice of civil rights history.

Co-created by Emmy winner Mia Tramz, TIME’s Editorial Director of Enterprise & Immersive Experiences, and industry-leading immersive storyteller Alton Glass of GRX Immersive Labs, with Viola Davis as executive producer and narrator, The March features the most realistic recreation of a human performance in VR to date, through advanced VR, AI, film production processes and machine-learning techniques.

“Through thousands of hours of research, we have endeavored to be true to the history of that August day. But we at TIME also see the project as a call to each of us for all that is yet to be done in the unfinished fight for equality, including in our own work,” said TIME Editor-in-Chief & CEO Edward Felsenthal. “Our hope is that it will not only change the way we see history, but also help awaken in all of us an understanding of the power of our own voice to have a positive impact on the world.”

“The March is a very ambitious project that was over three years in the making,” said Tramz. “We, along with our production partners, are proud to bring this immersive, educational exhibit to visitors, who will be able to experience this iconic moment in history first-hand.”

TIME Studios partnered with the Emmy Award–winning V.A.L.I.S.studio, Verizon Media’s Academy Award and Emmy-nominated immersive media studio RYOT, Academy Award-winning visual effects and immersive studio Digital Domain and award-winning JuVee Productions for the project.

Digital Domain was charged with creating a highly accurate 3D likeness of the iconic historical figure Dr. King, relying on a mix of its Masquerade system — which combines performance capture, machine learning and proprietary software — to create a base model, which was then perfected with Maya and Houdini by the studio’s artists.

The model was then placed into a historically accurate version of the National Mall, housed within Unreal Engine. Real-time tools were also developed to run in the background, ensuring viewers could see the most realistic form of Dr. King using a single GPU, without having to wear heavy gear. By using wireless technology, the experience will offer a freedom of movement that is more accessible to all attendees.

Stephon Ferguson

Digital Domain began by casting a performer who was similar in size and shape to Dr. King in August of 1963 to recreate his body movement. The King estate suggested their official orator Stephon Ferguson, who has been publicly re-enacting the “I Have a Dream” speech for the past 10 years, since he could match these characteristics and provide a realistic reference for Dr. King’s gestures during the speech.

Ferguson’s performance was recorded at Digital Domain using Masquerade, a motion-capture system designed to track minute details in a subject’s body and face. Facial scans, combined with machine learning, were also performed on another person to build pore-level details into the base model. From these bridge scans, the team was able to compare eye position, skull shape, cheekbone and nose ridge position, skin tone and blood flow to the current build of Dr. King. These elements were then given to DD artists, who took the model (now about 50% complete) and began adding in Dr. King’s distinct visual traits.

MLK

Artists assembled a large reference library of images and video from the speech and week of the march to aid in this process. Since our bodies and faces change month to month, this was the only way to accurately portray Dr. King on that particular day. In addition to different angles, the team also sourced as many color photos as possible, since unlike a lot of old footage which is predominantly in black and white, the VR experience would be in full color. The result is a historically accurate recreation that matches his features and mannerisms in real-time 3D.

At Dimensional Imaging, Digital Domain tracked how Ferguson’s face and eyes moved while making certain words. To help, he was given visemes to recite — silly sentences designed to push the mouth around and activate all the facial muscles. After the Dimensional Imaging (Di4D) session, Ferguson returned to DD’s Performance Capture Stage, where a dot marker set was drawn on his face, and he was fitted with a Head Mounted Camera (HMC). This marker set, specific to DD, comprises roughly 190 dots which are applied to the face. Using the HMC running at 60 fps, Stephon gave the same performance that he did at Di4D. With both the HMC performance and the Di4D performance feeding into software that DD’s machine learning (ML) team has written, the team was able to correlate 2D video data to 3D model data quickly, with high degrees of accuracy.

Stephon Ferguson

Ferguson was then outfitted with a motion-capture suit and asked to recite the full “I Have a Dream” speech – all 16 minutes of it. Using a video reference, Ferguson performed the speech, both physically and vocally. Using this facial and body capture, DD synchronized and mapped his facial performance to Dr. King’s current digital likeness, while the animation team vetted and adjusted his performance to match. The ML software offered a wonderful starting point for the animators, who spent most of their time adding human nuance to the digital Dr. King. The FX team then used this body and face performance to add additional secondary animation onto the cloth and face, giving some procedural motion to the final build.

CAA orchestrated the project partnership on behalf of clients RYOT, TIME and Viola Davis, and also serves as strategic advisor. In addition to Davis and Julius Tennon of JuVee, exec producers include Tramz and Orefice of TIME Studios, Peter Martin of V.A.L.I.S.studio, Jake Sally of RYOT, Guru Gowrappan of Verizon Media and John Canning of Digital Domain. Ari Palitz of V.A.L.I.S.studio is lead producer. Dr. Karcheik Sims-Alvarado is the historical advisor.

The creation of The March has led to a special TIME project, digital destination and print issue on the abiding meaning of the March on Washington and the state of equality in America today, with reporting and reflections by writers, leaders and activists. The cover of this special issue, realized by artist Hank Willis Thomas, features a stunning and historically precise 3D rendering of Dr. King from The March.

The March will debut as an experiential exhibit on February 28 at the DuSable Museum of African American History in Chicago — the first independent African American history museum in the country. The exhibit will run until November 2020.

Learn more at time.com/the-march.

Time

February 20, 2020
FuseFX Expands with New Atlanta Location

FuseFX, an award-winning visual effects studio servicing episodic television, feature films, commercials and VR productions, announced its expansion to the Southeast U.S. with the opening of a new studio in Atlanta, Georgia. The Atlanta office will serve as FuseFX’s third U.S. location and fourth location globally, reflecting the company’s continued growth and success.

Brad Kalinoski, who has worked as a VFX artist or supervisor on over 100 feature films and episodic TV projects over a 20-year career, will lead the new office as FuseFX’s head of production and senior VFX supervisor. His several accolades include BAFTA and VES award nominations for Black Swan, as well as a VES Award nomination for Lost: The Final Season. Kalinoski will focus on hiring top talent and overseeing productions to develop and maintain in the Atlanta region.

“Atlanta has been a hotbed for new productions, and the visual effects demand has grown exponentially,” said Kalinoski. “We plan to be fully staffed and have full capabilities in Atlanta and worldwide, to service clients and their needs. We expect to have as many as 50 personnel including mostly artists by the end of 2020.”

The organization has already started operations in Atlanta, and services clients there on a number of productions. As part of its geographic expansion, FuseFX seeks to provide additional local support to its existing clients with ever-changing needs, while diversifying its operations with talent and capabilities in the region. The company will also look to service new local clients.

“We want to continue to support clients locally, and wherever they want their workplace to be. Atlanta has a great location pool of talent, and the new office gives us more flexibility in moving projects based on skills and financial requirements. We are always looking to diversify our talent set,” Kalinoski added.

“We are incredibly happy to add Brad Kalinoski to our team. His depth and broad experience complement our existing high level of talent in the company. We are confident his leadership in our new Atlanta office will attract new talent, and add great new tools to our organization,” FuseFX CEO & Founder Dave Altenau commented.

fusefx.com

February 20, 2020
Coolabi Kicks Off 2020 with New Clangers YT Series, Attractions & More

Independent international media group and rights owner Coolabi Group has announced a series of creative brand extensions, which will be aimed at families with preschool children, for the award-winning preschool property Clangers. Announcements include a license deal with Gulliver’s Theme Park Resorts, new episodes launching on CBeebies U.K. and YouTube Kids, a new creative direction and brand-new YouTube series focused on the youngest members of the Clangers family, Tiny and Small.

A new partnership with Gulliver’s Theme Park Resorts will deliver a live Clangers experience aimed at families with preschool children launching this February half term. The partnership features a 15-minute live stage show with Tiny and Small Clanger, and will also include special hotel and birthday packages, where little ones will be able to enjoy an intimate show plus meet-and-greet photo opportunities. The partnership will run across four locations throughout the year.

Brand new episodes of the BAFTA-winning Clangers series will air on CBeebies in March and will conclude Season 3. Narrated once again by Sir Michael Palin, the new 8 x 11’ episodes will follow the Clangers on a whole host of new experiences and adventures.

The stop-motion animation series is also continuing its global expansion on YouTube, by bringing even more episodes to YouTube Kids in the U.S. The first 10 x 11’ episodes of Season 3 launched this week on the streaming service.

The recently launched YouTube series The Tiny and Small Clanger Show, which has accumulated over 500k views so far, uses hand puppetry and is produced by WildBrain Spark and Coolabi Productions. Available to watch now on the Clangers official YouTube channel, the short-form series follows Tiny and Small as they embark on lots of educational adventures together from learning about recycling and nursery rhymes, to finding out more about music, shapes and counting.

Available for licensees, the new creative direction “Tiny & Small Dreams” will feature a unisex palette on a clean white base, with pops of color, flat character art, stitching detail and applique details. The range will be launching on the Clangers official store this quarter.

“We are absolutely thrilled to be starting the new year with some brand new Clangers episodes on CBeebies and also celebrating our core preschool family audience by focusing on the youngest members of the Clangers family, Tiny and Small, with a series of creative new brand extensions including live experiences and licensed apparel,” said Michael Dee, Director of Content at Coolabi Group. “YouTube is an essential platform for content creators to reach preschoolers. The Tiny and Small Show is full of educational messages, songs and adventure, and we are confident that it will resonate and be embraced by little Clangers fans across the globe.”

February 20, 2020
Sony Boots Up ‘Connected’: New Title, Key Cast & First Images Revealed

The upcoming Sony Pictures Animation feature formerly known as The Mitchells vs. the Machines has been officially dubbed Connected, the studio revealed through EW.com Thursday.

Written and directed by Mike Rianda (creative director/writer, Gravity Falls), co-directed by Jeff Rowe (writer, Disenchantment, Gravity Falls) and produced by Oscar winners Phil Lord and Chris Miller (Spider-Man: Into the Spider-Verse), the CG comedy anchors on a family road trip upended by a global tech uprising.

As just announced, Broad City’s Abbi Jacobson is voicing Katie Mitchell — the artsy teen daughter looking forward to starting the next chapter of her life at her dream college, away from her family. However, nature-loving dad Rick (Danny McBride) decides that the whole clan should drive Katie out to school to do some quality, screen-free bonding on the road. Along with mom Linda (Maya Rudolph), little brother Aaron (Rianda) and their pudgy pug Monchi, the fam heads out but soon encounters a bigger adventure than they planned, as smartphones, household appliances and companion robots suddenly go Terminator in a deadly worldwide revolt.

The voice cast for Connected also includes comedian Eric Andre as tech inventor Mark Bowman, and Oscar winner Olivia Colman as voice assistant PAL.

[Source: Entertainment Weekly]

Connected

February 20, 2020
Wes Anderson Will Talk Animation at 60th Annecy Fest

International award-winning filmmaker Wes Anderson (Grand Budapest Hotel) will be at Annecy this June to talk about his relationship with animation. Anderson’s body of work includes two acclaimed animated feature films: Fantastic Mr. Fox (which won the Cristal for a Feature Film at Annecy in 2010) and Isle of Dogs (2018).

Anderson will be joined at the illustrious French animation event by his collaborators Jason Schwartzman and Roman Coppola, co-screenwriters of his most recent live-action film, The French Dispatch.

“Wes Anderson has had an exceptional influence on the revival of stop-motion animation over the past decade. His elaborate dramaturgical vision, his sophisticated and all-encompassing conception of direction has been imitated and has inspired many young filmmakers,” said Marcel Jean, Artistic Director of the Annecy Festival. “His visit to Annecy is the pinnacle of a long love story and admiration for his work. This is a true gift for us to offer our festivalgoers as part of the Festival’s 60th anniversary!”

The Annecy Festival will take place June 15-20. More information at www.annecy.org.

Isle of Dogs

Fantastic Mr. Fox

February 20, 2020
The Sun Sets on ‘Steven Universe’ as Finale Season Premieres March 6

Cartoon Network’s five-time Emmy nominated series Steven Universe is set to begin airing its final 10 episodes beginning Friday, March 6 at 7 p.m. (ET/PT). New episodes will continue to debut every Friday, ending with a special four-part series finale on March 27 at 7 p.m. (ET/PT). The capstone season will roll out internationally later in the year.

Steven Universe Future concludes as Steven is beginning to question his purpose as he runs out of Gems to help. Who is he if he’s not saving the world? And what is this strange new power that’s making him glow pink? Without other peoples’ problems to solve, he’ll have to finally face his own.

“I’m so excited for the final episodes of Steven Universe Future to be out in the world, and so grateful to our audience for supporting our show for all these years. It has been an eye-opening experience to meet the community that has come together around the show: I have been so moved, and I have felt so seen,” said creator Rebecca Sugar. “I have always been a firm believer in the power of cartoons, and these days it’s undeniable: the friendships forged over this show, the artists inspired to draw, the families that watched together and saw each other in these characters, fill me with awe and renew my love of animation every day. Though our epilogue series is coming to a close, please trust that like us, these characters will always be growing, changing and supporting each other. From the bottom of my heart, thank you so much for watching our show.”

“Steven Universe broke ground for young audiences with a rich representation of diverse and fully realized characters, unique original music and for its use of empathy as a story driver,” said Rob Sorcher, Chief Content Officer for Cartoon Network. “Cartoon Network Studios is immensely proud of Rebecca Sugar and of this series — which has changed lives. Along with millions of devoted fans around the world, we will always Believe in Steven.”

The show was recently named a Common Sense Selection by Common Sense Media, which recognizes outstanding age-appropriate, positive shows with a lasting impact on society. Steven Universe also made history last year as the first animated series to be honored with a GLAAD Media Award for “Outstanding Kids & Family Programming, and received the 2019 Peabody Award, which highlighted the series’ empathy and earnestness. To-date, Steven Universe Future has received 19.7M P2+ gross cross-platform episode views, including 13.4M views on linear (reflecting Live+7, premieres and replays) and 6.2M on non-linear (3.1M on VOD and 3.1M on the CN App).

Leading up to the final episodes, CN Arcade will launch Steven Tag on March 2. The game will allow fans to chase down and tag other gems to turn them into Steven, as well as collect figures from other Steven Universe games to earn more points. Steven’s universe will continue with the release of The Art of Steven Universe: The Movie on March 3, which will feature preliminary character designs. The book is designed by Ryan Sands (Frontier) in conjunction with Rebecca Sugar.

Steven Universe follows Steven, the “little brother” to a team of magical aliens — the Crystal Gems — who defended the planet Earth. Steven is the son of the Crystal Gems’ late leader Rose Quartz and aging aspiring rockstar, Mr. Universe. He belongs everywhere and nowhere and has inherited his mother’s Gem and her magical powers, but also his father’s humanity and charm. Fans can catch up on Steven Universe on the CN App and VOD.

February 20, 2020
Netflix’s ‘Spirit Riding Free’ Gets Licensing Agreement With Mattel

Mattel, Inc. today announced that it has entered into a multi-year global licensing agreement with Universal Brand Development for DreamWorks Animation’s Spirit Riding Free, the hit Netflix TV series and upcoming feature film. Mattel’s licensing rights include dolls, role play, games and arts and crafts. The Mattel line will debut at retailers worldwide ahead of the global theatrical release of the feature film based on the property, expected to hit theaters in May 2021.

This new agreement builds on Mattel and Universal Brand Development’s existing multi-year licensing partnerships for Illumination’s Minions, Universal Pictures’ Jurassic World and Fast & the Furious.

“DreamWorks Animation’s Spirit Riding Free has captured the imaginations of children and families around the world,” said Janet Hsu, Chief Franchise Officer, Mattel. “We have a strong partnership with the Universal team and track record of designing products that offer a deep connection to their characters and stories. We look forward to taking this to the next level with Spirit by bringing new innovation to the property through a full range of toys across multiple categories.”

“DreamWorks Animation’s Spirit Riding Free represents today’s generation of independent, adventurous girls and celebrates their love of horses and amazing friendships,” said Joe Lawandus, Senior Vice President and General Manager, Global Toys and Hardlines, Universal Brand Development. “At the heart of the series is the connection between the girls and their horses, and Spirit uniquely and authentically owns that undeniable bond. Mattel’s innovative approach to product design and storytelling is like no other, and we’re excited to further expand upon our successful partnership with them to design toys that tap into this natural play pattern and inspire girls to live out the series in real life.”

An epic adventure about the unbreakable bond between a girl and a wild stallion, Spirit Riding Free is the next film in the popular motion picture and animated television series franchise from DreamWorks Animation. When headstrong Lucky Prescott is forced to move from her big city home to a small frontier town, she becomes a complete fish-out-of-water. But her life is changed forever when she makes new friends and forms an inseparable bond with a wild mustang named Spirit. When Spirit’s herd is captured by rustlers, the girls and their horses must undertake the adventure of a lifetime to save them.

The new theatrical film is directed by Elaine Bogan (director, Trollhunters: Tales of Arcadia, 3Below: Tales of Arcadia, Dragons: Race to the Edge) and is produced by Karen Foster (co-producer, How to Train Your Dragon). Ennio Torresan (head of story, Abominable and The Boss Baby) serves as co-director.

DreamWorks Animation Television’s Netflix original series, on which the film is based, was itself inspired by the 2002 Oscar-nominated film Spirit: Stallion of the Cimarron, narrated by Oscar winner Matt Damon. The Emmy-winning series launched in May 2017. Currently 52 episodes are available on the platform with more episodes and content scheduled in 2020.

February 20, 2020
Cartoon Network Movie ‘Ben 10 vs. The Universe’ Blasts Off This Fall

Cartoon Network’s Ben 10 will take on a truly cosmic challenge with Ben 10 vs. The Universe: The Movie, set for a global premiere this fall. Featuring new characters, settings and powers for Ben, fans won’t want to miss his most epic adventure yet. The movie is the first for the newest iteration of Ben 10, which debuted around the world in 2016.

Currently in production, the action-packed movie will be framed around a blast from Ben’s past returning to do double the damage on Team Tennyson and planet Earth itself, forcing Ben to go interstellar to save the day. Meanwhile, Gwen and Grandpa Max team up to help protect the world in Ben’s absence. But when our boy hero is confused for the villain in space, Ben must figure out a way to get back to Earth to help save it!

Ben 10 is currently in its fourth season, taking fans on journeys with Team Tennyson through Rome, Tokyo, the Yucatán and more. New episodes continue to debut Sundays at 10 a.m. (ET/PT). Ben 10 is also available on the CN App as well as VOD.

The show is produced by Cartoon Network Studios, and created and executive produced by Man of Action Entertainment (Big Hero 6, Generator Rex), with John Fang (Mixels, Generator Rex) as executive producer.

February 19, 2020
Special Offer: Save on NYICFF Screenings Feb. 21-Mar. 15

Our friends at the New York International Children’s Film Festival 2020 — which gets started this Friday, February 21 and runs through March 15 in venues around the Big Apple — are offering Animation Magazine readers a special discount on screening tickets.

Good for $2 off tickets to any short film program, the deal is the perfect excuse to get your fix of family-friendly animation from around the world in the festival’s expansive lineup. NYICFF’s wildly-popular and diverse short film programs include: Shorts for Tots (all ages), Short Films 1 (ages 5-10), Short Films 2 (ages 8-14), Short Films 3 (12+), and more!

Visit nyicff.org/tickets and use the code ANIMAG20 at checkout to take advantage of this special offer.

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February 19, 2020
Final Nominees of the 3rd Quirino Awards Revealed
The Ibero-American Animation Quirino Awards have announced the finalist works in the nine categories of its third edition, which will be held on April 18 in Tenerife.

The announcement was made at a press conference Tuesday at Casa de América in Madrid. José Gregorio Martín Plata, Island Councilor of the Area of Territory Planning, Historical Heritage and Tourism of the Cabildo de Tenerife; Beatriz Navas, Director of ICAA, Institute of Cinematography and Audiovisual Arts; Pablo Conde, Director of Fashion, Habitat and Cultural Industries of ICEX, Spain Export and Investment; Elena Vilardell, Technical and Executive Secretary of the Ibermedia Program; and José Luis Farias, Coordinator of the Quirino Awards; and representatives of the embassies of Brazil, Mexico, Paraguay and Portugal gathered for the reveal.

A total of 22 works from nine countries in the region have made the final cut out of 219 submissions. Productions from Argentina, Bolivia, Brazil, Chile, Colombia, Mexico, Paraguay, Portugal and Spain will vie for Quirino Awards in nine categories in a competition that reflects the international reach of Ibero-American animation across both young and adult target audiences.

Portuguese animation is the most represented with 10 candidates, while Spain presents seven finalists, followed by Argentina (six), Brazil (four), Colombia and Bolivia (two each), Chile, Mexico and Paraguay (one each). The Portuguese student short Nestor, co-produced with the United Kingdom, is the work with the most nominations (four); followed by Spanish feature Klaus and Portuguese short Uncle Thomas Accounting for the Days, with three nominations each.

2020 Quirino Awards finalists:

Feature Film
- Turu, the Wacky Hen, directed by Víctor Monigote & Eduardo Gondell. Produced by Tandem Films, Producions a Fonsagrada, Gloriamundi Producciones, Brown Films, Pampafilms, Argentina Sonofilm, Mediabyte, In Post We Trust, Malditomaus (Spain, co-production with Argentina)
- Klaus, directed by Sergio Pablos. Produced by The SPA Studios, Atresmedia Cine (Spain)
- The Longleg, directed by Mercedes Moreira. Produced by Eucalyptus Animación (Argentina)
- Reconciliation Stories, directed by Carlos Santa & Rubén Monroy. Produced by Carlos Santa, Rubén Monroy (Colombia)
Series
- Cubs “Crocodiles”, directed by Mélia Gilson & Camille Authouart. Produced by VIDEOLOTION, Praça Filmes, Jpl Films (Portugal, co-production with France)
- Momonsters, directed by Javier Martínez & Alberto Martínez. Produced by Big Bang Box, KD Toons & Games, 3Doubles Producciones, Vitotito Animation, TVE, Antaviana Films (Spain)
- Space Chickens in Space, directed by Tommy Vad Flaaten & Markus Vad Flaaten. Produced by Ánima, Cake Entertainment, Disney (Mexico, co-production with United Kingdom, Ireland and Australia). Original idea by José C. García de Letona & Rita Street
- Tainá and the Amazon’s Guardians, directed by André Forni. Produced by Hype, Sincrocine (Brazil)
Short Film
- The Cubicbird, directed by Jorge Alberto Vega. Produced by La Valiente Estudio, in co-production with Cintadhesiva Comunicaciones and with the associated production of Animaedro Estudio De Animación (Colombia)
- Purpleboy, directed by Alexandre Siqueira. Produced by Bando à Parte, Rainbox Productions, Ambiances… Asbl, Luna Blue Film (Portugal, co-production with Belgium, France)
- Uncle Thomas: Accounting for the Days, directed by Regina Pessoa. Produced by Ciclope Filmes, ONF/NFB, Les Armateurs (Portugal, co-production with Canada, France)
School Short Film
- Gravedad, directed by Matisse Gonzalez. Filmakademie Baden-Württemberg (Bolivia, co-production with Germany)
- Nestor, directed by João Gonzalez. Royal College of Art (Portugal, co-production with United Kingdom)
- I Guess It Went Something Like That, directed by Giovanna Muzel Da Paixao. Cinema de animação, Centro de Artes UFPEL (Brazil)
Commissioned Film
- In Your Hands, directed by Ralph Karam. Produced by Le Cube (Argentina)
- Mate?, directed by Dalmiro Buigues & Martin Dasnoy. Produced by Cecilia Martin (Argentina, co-production with Bolivia, Brazil, Chile, Paraguay)
- We Have Voice, directed by Juan Manuel Costa. Produced by Juan Manuel Costa (Argentina)
Video Game
- Gris. Produced by Nomada Studio (Spain)
- Shadow Brawlers. Produced by Guazú (Argentina)
- Very Little Nightmares. Produced by Alike Studio (Spain)
Visual Development
- Nestor. Royal College of Art (Portugal, co-production with United Kingdom)
- The Peculiar Crime of Oddball Mr Jay. Produced by Cola – Colectivo Audiovisual, Wild Stream (Portugal, co-production with France)
- Uncle Thomas: Accounting for the Days. Produced by Ciclope Filmes, ONF/NFB, Les Armateurs (Portugal, co-production with Canada, France)
Animation Design
- Klaus. Produced by The SPA Studios, Atresmedia Cine (Spain)
- Nestor. Royal College of Art (Portugal, co-production with United Kingdom)
- Uncle Thomas: Accounting for the Days. Produced by Ciclope Filmes, ONF/NFB, Les Armateurs (Portugal, co-production with Canada, France)
Sound Design & Original Music
- Drawing Life. Produced by Openthedoor Studios (Brazil)
- Klaus. Produced by The SPA Studios, Atresmedia Cine (Spain)
- Nestor. Royal College of Art (Portugal, co-production with United Kingdom)
Visit premiosquirino.org/en for more information.

Registration for the Quirino Co-Production & Business Forum is open until Feb. 20 (early bird) / March 2 (final deadline).

El Patalarga

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