2- 4 Novem­ber Plan­ner 17- 19HOME 20- 22

Animation Magazine - - Frame- By- Frame - By Rita Street [Radar Car­toons on Gum­road, free e-book]

The World An­i­ma­tion & VFX Sum­mit brings the global in­dus­try to the Cal­i­for­nia Yacht Club. [an­i­ma­tion­magazine.net/sum­mit] The SIGGRAPH Asia con­fer­ence and expo is set for Kobe, Ja­pan this year. [sa2015. siggraph.org]

disc to­day:

and Sk­wigly.com present the in­au­gu­ral Manch­ester An­i­ma­tion Fes­ti­val. [manch­esteran­i­ma­tion­fes­ti­val.co.uk] Pan­els, demos and re­cruit­ing mix­ers fea­ture at L.A.’s CTN Expo. [ct­nan­i­ma­tion­expo. com] The Hunger Games: Mock­ing­jay - Part 2 brings VFX magic to the­aters. Acad­emy and com­plete sets are on Blu-ray to­day. On DVD is

As in­dus­try vet­eran Rita Street stated re­gard­ing the book’s launch, “This is lit­er­ally ev­ery­thing I’ve learned from buy­ers over the last decade on how to de­velop a kids’ com­edy show for 6- to 11-year olds. It’s ca­sual, dense and full of real ex­er­cises that will help you cre­ate rockin’ sales ma­te­ri­als.” She should know, as founder of Radar Car­toons, a pro­ducer, con­sul­tant, founder of Women in An­i­ma­tion and — ahem — for­mer pub­lisher of An­i­ma­tion Mag­a­zine.

Avail­able as a free e-book through radar­car­toons.com and gum­road.com, this Se­cret Guide is your short­cut to know­ing the ins-and-outs of sell­ing the next SpongeBob (hint: you have to do more than tell peo­ple your show is “the next SpongeBob”). Street has done the hard work for you over the last decade, hav­ing landed more than 1,200 pitch meet­ings with key de­vel­op­ment ex­ec­u­tives and sell­ing a record 15 shows into de­vel­op­ment. If you can’t make it to one of Street’s work­shops or speak­ing en­gage­ments, this is the next best thing.

— Mercedes Mil­li­gan

Fund­ing for the movie mostly came from gov­ern­ment pro­grams that sub­si­dize movie projects or of­fer tax breaks, with a small amount com­ing from pri­vate in­vestors, says Riva Pala­cio. Videocine and Pan­te­lion also sup­plied sig­nif­i­cant fund­ing. Pur­su­ing some of those tax breaks led the com­pany to open a stu­dio in Guadala­jara, but when that fund­ing failed to come through pro­duc­tion on Un gallo moved back to Mex­ico City.

Fo­cus on Story Pro­duc­tion took about 2½ years, with much of the ef­fort go­ing into de­vel­op­ing the story. “We did 13 dif­fer­ent drafts of the script be­fore go­ing in and record­ing with the ac­tors and once we recorded the ac­tors, we went into the an­i­matic, and the an­i­matic really had to be al­most what the movie was go­ing to be in the end,” says Riva Pala­cio. “We spent months try­ing to get the right rhythm, chang­ing lines, chang­ing record­ings and so on in or­der to get the movie where we wanted it, where we thought the movie would work.”

With Gabriel Riva Pala­cio su­per­vis­ing the an­i­ma­tion, the com­pany had to de­velop much of its own soft­ware as an al­ter­na­tive to the ex­pense of buy­ing li­censes for top ap­pli­ca­tions for the 120 artists who worked on the movie. There also was pro­gram­ming de­vel­oped to help speed up the pipe­line, all of which took sev­eral years of re­search prior to an­i­ma­tion start­ing on the fea­ture.

Hav­ing a tight an­i­matic also made sure there was no waste. “You won’t see any ma­te­ri­als like a direc­tors cut, like DVD ex­tras — there are none,” says Rodolfo Riva Pala­cio.

Nearly all of the an­i­ma­tion tal­ent on the film was from Mex­ico. Riva Pala­cio says the schools in Mex­ico are grad­u­at­ing a lot of tal­ented an­i­ma­tors, though they still needed some train­ing to ad­just to the pace and out­put re­quired in a work­ing stu­dio en­vi­ron­ment. They also had to learn new skills be­cause, for ex­am­ple, the pipe­line on Un gallo was stream­lined to save time by hav­ing an­i­ma­tors light their scenes.

Un gallo is the first an­i­mated movie dis­trib­uted by Pan­te­lion, which Tele­visa and Lionsgate founded in 2010. The film­mak­ers’ re­la­tion­ship with Tele­visa and its Videocine di­vi­sion opened the door for a deal with Pan­te­lion, which Riva Pala­cio says was con­vinced to try the project based on some clips.

The stu­dios’ re­search with fo­cus groups backed up its ini­tial sup­port for the movie, he says. “The movie got one of the high­est scores for Lionsgate in years,” says Riva Pala­cio. “We had over 98 per­cent ac­cep­tance and 98 per­cent of peo­ple said they would rec­om­mend it.”

Pan­te­lion planned the release to tar­get Span­ish-speak­ing mar­kets in the United States, es­chew­ing the idea — and cost — of at­tempt­ing a wider release with an English dub.

“That would have cost Pan­te­lion about $20 mil­lion, at least, and they didn’t want to risk it be­cause it was an ex­per­i­ment,” says Riva Pala­cio. There is an English-lan­guage version of the movie that likely will get a home-video release.

For Riva Pala­cio, a graduate of the Amer­i­can Film In­sti­tute, hav­ing the film re­leased in the United States has been ex­tremely ex­cit­ing. “It was a dream come true, hav­ing the pre­miere here and do­ing all the jun­ket press. I felt like a Hol­ly­wood star,” he says.

And, as with any suc­cess, dis­cus­sions of the fol­low up are al­ready hap­pen­ing, though Riva Pala­cio says he may try to make a non-egg movie first. “The stu­dio has al­ready asked me for the se­quel; they want it right away,” he says. [

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