The Toon Makeover Ex­perts

Stu­dio 100 adds to its suc­cess­ful slate of up­dated clas­sic prop­er­ties as of Nils joins its MIPCOM line-up.

Animation Magazine - - Spotlight - The Won­der­ful Ad­ven­tures

Since join­ing forces in 1996, the founders of Stu­dio 100 Me­dia have strived to bring qual­ity, ac­ces­si­ble fam­ily pro­gram­ming to the global mar­ket. As the company ap­proaches two decades on the scene, it con­tin­ues to build on its tra­di­tion of recre­at­ing clas­sic prop­er­ties for mod­ern au­di­ences.

The stu­dio’s lat­est project, which is sure to cause a stir at MIPCOM this month, is a new CG-an­i­mated up­date on the popular novel by Swedish au­thor Selma Lagerlof, The Won­der­ful Ad­ven­tures of Nils. The 52 x 13 se­ries will up­date the prop­erty, which hit small screens on NHK in the 1980s, with slick new tech­niques and is set to de­liver in De­cem­ber 2016.

“I am look­ing for­ward, that the re­vived CGI an­i­mated TV se­ries with its great new de­sign and ad­ven­ture-packed sto­ries pro­duced by Stu­dio 100 An­i­ma­tion in Paris will be rich in its sto­ry­telling and stand out from the crowd due to its ‘ex­tra’ cheeky ap­peal,” says Stu­dio 100 Me­dia man­ag­ing di­rec­tor Pa­trick El­men­dorff.

“The Won­der­ful Ad­ven­tures of Nils the el­e­ments that chil­dren love: ac­tion, ad­ven­ture, fun and mys­tery. Its ad­ven­tures will en­sure that kids all over the world will love the an­tics of a mis­chievous and head­strong boy.”

The Won­der­ful Ad­ven­tures of Nils will com­bine 3D and 2D el­e­ments — pro­duced by Stu­dio 100 An­i­ma­tion — to nar­rate the life of reck­less and dar­ing Nils, who is trans­formed into a minia­ture hu­man with the abil­ity to talk to an­i­mals by a mis­chievous elf. Luck­ily, he teams up with a help­ful gan­der named Martin, who car­ries him along his jour­neys with a flock of wild geese. The se­ries con­cept was de­vel­oped by Jan Van Ri­js­sel­berge and Cyril Tysz.

Stu­dio 100 will be of­fer­ing po­ten­tial buy­ers at MIPCOM a first-look at the de­sign de­vel­op­ment for the se­ries, which is as yet a work in progress. The stu­dio is pur­su­ing a unique CG de­sign which will in­cor­po­rate fresh col­ors, strong char­ac­ters and a strong visual im­pact.

The company also re­cently marked the 40th an­niver­sary of Vic the Vik­ing. Stu­dio 100’s CG re­vamp (78 x 12) aimed at ages 5-8 was com- mis­sioned last year by Aus­tralia’s ABC TV and based on the popular book se­ries by Runer Jon­s­son. Upon its com­mis­sion the show, pro­duced in as­so­ci­a­tion with Fly­ing Bark Pro­duc­tions, presold to over 60 coun­tries.

The 19th cen­tury character Heidi has also been up­dated for 21st cen­tury view­ers by the stu­dio, which again col­lab­o­rated with Aussie stu­dio Fly­ing Bark for Heidi (39 x 22), which cen­ters on the 8-year-old hero­ine liv­ing with her grand­fa­ther in the scenic idyll of the Swiss Alps. Maya the Bee is another global hit re-vamp for the company — orig­i­nally hit­ting the small screen as a 2D se­ries in 1975, the 3D up­date of the se­ries has racked up over 150 broad­cast­ing ter­ri­to­ries and hun­dreds of li­censees the world over and con­tin­ues to win over new fans with her in­de­pen­dent spirit.

They say that ev­ery­thing old is new again, but Stu­dio 100 seems to have the key to guar­an­tee­ing it. Visit Stu­dio 100 Me­dia at MIPCOM stand R7.C1 or stu­dio100­me­dia.com.

It may be another few years be­fore Johnny Depp dons his kohl liner for the next bigscreen pi­rate ad­ven­ture, but a new an­i­mated com­edy from Canada’s Atomic Cartoons and Aus­tralia’s Sticky Pic­tures will keep kids and fam­i­lies from los­ing their sea legs in the mean­time. De­but­ing at the MIPCOM mar­ket thanks to Break­through En­ter­tain­ment, Pi­rate Ex­press (52 x 11) is a col­or­ful 2D-an­i­mated se­ries about a rag-tag group of sea-far­ing mis­cre­ants led by a 12-year-old boy from At­lantis.

When Newt ac­ci­den­tally un­leashes a cursed pi­rate crew from an en­chanted shipin-a-bot­tle, his self-ob­sessed de­ity dad Po­sei­don puts him in charge of cap­tain­ing the ship and help­ing the ruf­fi­ans change their ways. What fol­lows is high seas hi­jinx with the ousted Cap­tain LaPou­tine, his scurvy crew and one pen­guin with an iden­tity cri­sis.

Ac­cord­ing to Break­through’s pres­i­dent of dis­tri­bu­tion Nat Abra­ham, the company came aboard in the pre-pro­duc­tion stage, hav­ing worked with Atomic on Rocket Mon­keys and Atomic Betty be­fore. The stu­dio’s great com­edy track record as­sured the distrib­u­tor that the new show would be a great fit for its cat­a­log.

“There has been an on­go­ing — and what seems to be a never-end­ing — de­mand for an­i­mated se­ries that skew to­wards 7- to 11-year olds. The only mi­nor change in this de­mand is that li­censees pre­fer that the sto­ry­line skews more to­wards com­edy than ac­tion,” says Abra­ham. “We are con­fi­dent that Pi­rate Ex­press, which is a high-qual­ity show that was cre­ated by rep­utable com­pa­nies, will ap­peal to our clients — or we wouldn’t have in­vested in it.”

While Pi­rate Ex­press will be the company’s main fo­cus at the Cannes event, they will also be shop­ping sec­ond sea­sons of proven toons Rocket Mon­keys, My Big Big Friend and preschool hy­brid se­ries The Ad­ven­tures of Nap­kin Man, as well as fi­nal­iz­ing

Nat Abra­ham

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