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HA cool cast of kids ex­plore odd­ball hap­pen­ings in their apart­ment build­ing in Nick’s most-re­cent an­i­mated se­ries,

ome is where the weird is — at least it is at a New York City apart­ment build­ing called the Wayne, which is the set­ting for Nick­elodeon’s new­est an­i­mated se­ries.

Cre­ated and writ­ten by Emmy Award­win­ning writer and com­poser Billy Lopez ( Won­der Pets!, Phineas and Ferb), Wel­come to the Wayne pre­mieres its 20-episode first sea­son July 24. Orig­i­nat­ing as Nick’s first web-ex­clu­sive se­ries, Wel­come to the Wayne fol­lows the ad­ven­tures of Olly Tim­bers (voiced by Lopez), his sis­ter Sar­a­line, and their pal Ansi Molina, as they ex­plore the crazy, un­pre­dictable world of the Wayne.

Lopez says he imag­ined hav­ing a lot of ad­ven­tures in the New York City apart­ment build­ings he lived in as a kid. “I wasn’t nearly as ad­ven­tur­ous as the kids in the Wayne,” he says. “But I loved imag­in­ing ad­ven­tures that could take place in the build­ings I lived in. I’d come home and stroll through my lobby pre­tend­ing I was head­ing off to my se­cret, af­ter-school job of mon­ster-slay­ing.”

The show’s web ver­sion in­formed Lopez’s ap­proach to mak­ing the TV se­ries. “I knew the full-length show had to be se­ri­al­ized, mean­ing each episode had to di­rectly fol­low the pre­vi­ous one in terms of its over­ar­c­ing story, but it was a cre­ative strug­gle to en­sure that a viewer could tune in at any ran­dom episode and not feel lost or con­fused,” he says. “In the Co­ra­zon and Otto Oc­tavius.

While the emo­tional heart of the show evokes the orig­i­nal 1960s Spi­der-Man comics by Stan Lee and Steve Ditko, Marvel’s Spi­derMan is firmly set in the present, says Mar­sha Grif­fin, VP of Cur­rent Se­ries and Devel­op­ment at Marvel An­i­ma­tion Stu­dios.

Keep­ing it light is showrun­ner Kevin Shinick, whose an­i­ma­tion cred­its in­clude Ro­bot Chicken and MAD. “He brings a com­plete, fresh comedic take that I haven’t seen be­fore in all my years of work­ing on an­i­mated se­ries,” says Grif­fin. “Even while we’re talk­ing about the dark­est things … we’re still in­fus­ing every bit of it with hu­mor in order to give it a light­ness and just it’s just a fun ride.” [

Six Point Har­ness brings Cana­dian an­i­ma­tor Myles Lan­glois’ home­made com­edy ac­tion se­ries to Adult Swim. By Tom McLean.

Six Point Har­ness pres­i­dent Bren­dan Burch re­mem­bers very clearly the mo­ment he first saw on YouTube Cana­dian an­i­ma­tor Myles Lan­glois’ home­made an­i­mated web se­ries Apollo Gauntlet. “I had to watch it twice be­cause I was just wip­ing my eyes cry­ing and laugh­ing, it was so good,” says Burch.

Hav­ing teamed Six Point Har­ness with Chris Prynoski’s Tit­mouse to launch in 2012 an on­line chan­nel called Rug Burn, Burch says Apollo Gauntlet was too good an idea to just help get views on­line, so he tracked down Lan­glois, whose ini­tial re­ac­tion was less than en­thu­si­as­tic. “I don’t know his ex­act words, but he goes, ‘If it’s all the same to you, I’d just as soon I never an­i­mate again,’” says Burch. “I re­mem­ber im­me­di­ately sort of lov­ing him and his can­dor.”

The se­ries was cre­ated com­pletely by Lan­glois — at the time work­ing on a potato farm in Bran­don, Man­i­toba — sim­ply be­cause he wanted to cre­ate some­thing “as a premise.” He cre­ated the en­tire orig­i­nal web se­ries him­self, learn­ing to an­i­mate — and us­ing a mouse to do it — and do all the rest of it as he went.

Five years later, Apollo Gauntlet has un­der­gone a trans­for­ma­tion into an Adult Swim se­ries that de­buted its en­tire first sea­son July 7 on the net­work’s web­site, with its TV pre­miere fol­low­ing two days later.

This is an all-new ver­sion of Apollo Gauntlet, re­worked and writ­ten by Lan­glois with help from 6PH and the sup­port of par­ent com­pany Mondo. Apollo Gauntlet tells the tale of Paul Cas­sidy, a po­lice of­fi­cer from Win­nipeg, Canada, who pur­sues a sus­pect into a fan­tas­tic di­men­sion where he ac­quires a pow­er­ful pair of talk­ing gauntlets with which to fight the evil Dr. Be­nign and Cor­po­ral Vile. With help from some new­found al­lies, Apollo Gauntlet as­sumes the role of cham­pion of this strange world, gen­tly crack­ing wise the en­tire time and fight­ing crime in his uniquely Cana­dian way.

The show re­flects the per­son­al­ity and taste of cre­ator Lan­glois, who wrote the en­tire show and voices both Apollo Gauntlet and the vil­lain­ous Cor­po­ral Vile with a mild but un­mis­tak­able Cana­dian ac­cent. “I’m al­ways try­ing to hide my ac­cent when I’m do­ing my voice but it’s im­pos­si­ble,” says Lan­glois. “There’s al­ways a lit­tle bit in there.”

Among the changes from the orig­i­nal se­ries is the ad­di­tion of a sup­port­ing cast of char­ac­ters, most of which Lan­glois fleshed out based on the ac­tors who were cast in those roles. The new ver­sion also has bet­ter back­grounds, which have a washed out painted style, pay­ing homage to He- Man, a child­hood fa­vorite show for Lan­glois.

What’s im­por­tant to Lan­glois was to give the show a fo­cus — no mat­ter how weird — and to re­flect some kind of pos­i­tive out­look. “(Apollo is) flawed, but he has a moral com­pass and he’s try­ing to fight vil­lains,” says Lan­glois. “I think there’s so many easy jokes to be made at the ex­pense of others and I re­ally am not into that.”

With Lan­glois writ­ing from Canada, most of the pre-pro­duc­tion work was done at 6PH’s stu­dio in Los An­ge­les, with An­ima Stu­dios in Mex­ico han­dling the an­i­ma­tion.

“Our big­gest chal­lenge was to take Myles’s vi­sion and spread it out over a large team and keep it as un­com­pro­mised and pure as we pos­si­bly could while at the same time mak­ing it el­e­vated as far as us­ing peo­ple’s tal­ents and mak­ing it more TV ready than the web show orig­i­nally was,” says Greg Franklin, 6PH’s cre­ative direc­tor and su­per­vis­ing direc­tor on Apollo Gauntlet.

Burch says Apollo helps 6PH es­tab­lish its brand as a stu­dio that can take short form in­ter­net con­tent and de­velop it into suc­cess­ful se­ries or fea­tures, as it pre­vi­ously did with its hit Dick Fig­ures se­ries and movie.

As for the fu­ture of the show, like a sec­ond sea­son order, Lan­glois is typ­i­cally pes­simistic. “I don’t think that far ahead,” he says. “I’m op­ti­mistic in some ways but in ca­reers I al­ways think, Well, we’ll see what hap­pens.’” Apollo Gauntlet would likely agree. [

Over­see­ing the World An­i­ma­tion Cel­e­bra­tion these past three years and car­ry­ing the torch to a new gen­er­a­tion of an­i­ma­tors has been a huge re­spon­si­bly and mile­stone. There has al­ways been a need for an in­ter­na­tional an­i­ma­tion fes­ti­val in Los An­ge­les, but lo­cal sup­port has been a chal­lenge. I wanted the fes­ti­val to en­com­pass ev­ery­thing for an­i­ma­tion; new projects, emerg­ing artists, pan­els, speak­ers and awards. My goal was to cre­ate an event where stu­dents and grad­u­ates could talk to pro­fes­sion­als, schools could show­case their stu­dents’ work, stu­dios could talk about their new tal­ent. I am thrilled to see that we have re­al­ized our goals in such a short time.

- in­ing The World An­i­ma­tion Cel­e­bra­tion to Jean Thoren Pres­i­dent of An­i­ma­tion Maga - ties and road­blocks of launch­ing an in­ter­na­tional an­i­ma­tion fes­ti­val with­out gov­ern­ment help and lit­tle in­dus­try sup­port. How­ever, through­out my day-to-day teach­ing, I saw the need for my stu­dents to have a place and re­ceive the recog­ni­tion for their work by pro­fes­sion­als and peers. I pushed for­ward and con­vinced Jean that this needed to be done. There are so many an­i­ma­tion fans as well as artists, and schools so now we have a place where once a year ev­ery­one can join in the cel­e­bra­tion. With the kind sup­port of Sony Pic­tures An­i­ma­tion, gra­ciously host­ing the event for the sec­ond year, we can re­al­ize my vi­sion to cre­ate a world class event. Our fes­ti­val has had a great im­pact on artists and stu­dents and the jour­ney that they are on, and I’ve been very proud to be part of that.

This an­i­ma­tion fes­ti­val works hand in hand with my orig­i­nal vi­sion for An­i­ma­tion Li­ba­tion Stu­dios, which thrives to bridge the gap be­tween col­lege grad­u­ates with de­grees and port­fo­lios in hand, so they could go out and land a job in the in­dus­try with ex­pe­ri­ence. As an an­i­ma­tion pro­fes­sor teach­ing at sev­eral lo­cal col­leges around Los An­ge­les for over a decade, I’ve wit­nessed the strug­gles stu­dents go through and the need for new op­por­tu­ni­ties to be cre­ated for their suc­cess. An­i­ma­tion Li­ba­tion Stu­dios evolved by de­vel­op­ing small pro­duc­tion teams and work­ing on short projects. Men­tor­ship is a vi­tal part of our core phi­los­o­phy. Cre­at­ing new orig­i­nal an­i­mated con­tent and fos­ter­ing emerg­ing tal­ent by cre­at­ing op­por­tu­ni­ties to gain stu­dio ex­pe­ri­ence be­yond the class­room.

As our stu­dio ex­panded and started work­ing on big­ger projects, we adapted the size of the project. Slope of the Curve, - tion has taken over jobs, was one of our

SIGGRAPH is mak­ing plenty of room for the bur­geon­ing field of vir­tual re­al­ity in the 44th edi­tion of its In­ter­na­tional Con­fer­ence and Ex­hi­bi­tion on Com­puter Graph­ics and In­ter­ac­tive Tech­niques, run­ning July 30-Aug. 3 at the Los An­ge­les Con­ven­tion Cen­ter.

This year’s con­fer­ence has ex­panded the VR Vil­lage, which with 21 in­stal­la­tions will take up the most floor space of any venue in the ex­hi­bi­tion hall. VR also has been added to the iconic Com­puter An­i­ma­tion Fes­ti­val, which will of­fer 10 projects in a VR Theater sec­tion in ad­di­tion to the Elec­tronic Theater.

SIGGRAPH pro­gram chair Jerome Solomon says he’s worked on im­prov­ing the at­tendee ex­pe­ri­ence by ad­ding things like greeters to wel­come peo­ple as they en­ter the show. He also thinks at­ten­dees will re­ally like this year’s SIGGRAPH mug, which has been re­designed to re­sem­ble a teapot.

The con­fer­ence’s con­nec­tions with an­i­ma­tion and VFX also are on dis­play, with a pro­duc­tion art gallery that will fea­ture movie props, con­cept art and phys­i­cal art­work from var­i­ous stu­dios, in­clud­ing Sony and Marvel.

And there will be a draw­ing class where the model is a live gi­raffe named Tiny.

Solomon also is ex­cited about a panel with a vis­ual ef­fects stu­dio from Syria. “They are go­ing to drive from Da­m­as­cus to Le­banon — Beirut — and join us via Skype,” says Solomon. “One of their founders ac­tu­ally is in New York and he’s go­ing to fly out and join us in Los An­ge­les and their panel is go­ing to fo­cus on do­ing vis­ual ef­fects in ba­si­cally a war zone.”

Key­note: Floyd Nor­man An­i­ma­tors and fans of an­i­ma­tion most likely know who Floyd Nor­man is. But for those SIGGRAPH at­ten­dees who don’t know about this iconic an­i­ma­tor, this year’s key­note ses­sion is the ideal op­por­tu­nity to learn all about Floyd Nor­man from the man him­self. The key­note will be held in a fire­side chat for­mat, in which Nor­man will dis­cuss his ca­reer from its start in the 1950s as Dis­ney’s first African-Amer­i­can an­i­ma­tor, to work­ing with Walt Dis­ney him­self on films such as 101 Dal­ma­tians and The Jun­gle

Re­Boot was one of the most in­no­va­tive and pop­u­lar an­i­mated se­ries of the 1990s, be­ing one of the first to bring CG an­i­ma­tion to TV. Now, Rain­maker is bring­ing back the pop­u­lar se­ries and once again push­ing the en­ve­lope when it comes to tech­ni­cal in­no­va­tion by us­ing Epic Games’ Un­real En­gine to make the up­com­ing se­ries Re­Boot: The Guardian Code.

The Van­cou­ver-based Rain­maker pro­duced the orig­i­nal se­ries, which aired from 1994 to 2001, and has sev­eral times at­tempted to bring it back. The cur­rent ver­sion — in pro­duc­tion now for an ex­pected 2018 launch — got started in 2013 shortly af­ter the hir­ing of pres­i­dent and chief cre­ative of­fi­cer Michael Hef­feron, whose idea was to take the in­spi­ra­tional and as­pi­ra­tional ex­am­ple of the orig­i­nal se­ries to come up with a ver­sion that would work with to­day’s au­di­ences.

“It was maybe the first-ever CG an­i­mated se­ries for TV, in 1994, and it was based on a con­cept that worked back in those days,” says Hef­feron. “Com­put­ing was lim­it­ing, you had main­frame com­put­ers and even the in­ter­net was kind of lim­it­ing back then.”

Re­Boot: The Guardian Code evolved based on to­day’s world of apps, con­stant con­nec­tion and cy­ber at­tacks into a tale of four heroic kids with the abil­ity to en­ter cy­berspace and de­fend it from var­i­ous threats like the Sorcerer and, in a blast from the past, Me­gabyte.

The real-world el­e­ments are done in live ac­tion, with the cy­berspace el­e­ments an­i­mated us­ing a pipe­line that in­cor­po­rates an­i­ma­tion from Maya with world build­ing that uses the Un­real En­gine to quickly cre­ate a vast and stylish set­ting for the se­ries to play out against.

The Maya pipe­line is used for mod­el­ing, hu­man and en­vi­ron­ment; rig­ging; lay­out and an­i­ma­tion. The re­sult is then im­ported to the Un­real En­gine for what Rain­maker calls world con­struc­tion; sur­fac­ing; A.I. an­i­ma­tion el­e­ments; ef­fects; light­ing; and ren­der­ing, in­clud­ing the abil­ity to out­put to 4K res­o­lu­tion.

In Con­stant Mo­tion “The cool thing about Un­real is our abil­ity to con­stantly have things mov­ing,” says Hef­feron. “So our lo­ca­tions can con­stantly have el­e­ments to them that move, float and it gives us a great vast­ness for the size and scale of the worlds that we cre­ate.” [

An­imag’s Can’t-Miss

Panel and Booth s a long-time ex­hibitor and sup­porter of Comic-Con, An­i­ma­tion Mag­a­zine is proud to bring the cel­e­bra­tion of its 30th an­niver­sary to San Diego for a spe­cial hour­long panel event set for Sat­ur­day, July 22, at 4:30 p.m. In Room 24ABC. Here’s the scoop:

ATurns 30! Launched in 1987, An­i­ma­tion Mag­a­zine has been the de­fin­i­tive voice of the art, busi­ness, and tech­nol­ogy of an­i­ma­tion and VFX as those in­dus­tries have grown from tiny niches into global phe­nom­ena. Join pub­lisher/pres­i­dent/co-founder Jean Thoren and some sur­prise spe­cial guests in this look at how much the mag­a­zine and the art forms it cov­ers have changed over the past three decades.

And, as al­ways, swing by Booth 1533 to say hi to the staff and pick up some good­ies. [

With 39 events con­ceived by fes­ti­val direc­tor Fed­erico Fiec­coni held June 22-24 in Berg­amo, Italy, the Berg­amoTOONS Fes­ti­val suc­cess­fully de­liv­ered its first edi­tion filled with free sym­po­siums, film-screen­ings, hap­pen­ings and ex­hi­bi­tions ded­i­cated to an­i­mated films, reg­is­ter­ing an im­pres­sive 400-plus in­ter­na­tional press re­views.

The com­mon theme of the event has been hu­mor, through screen­ings of a va­ri­ety of funny and feel-good an­i­mated films. This is a char­ac­ter­is­tic trait of the an­i­ma­tions of Bruno Bozzetto, the ac­claimed direc­tor and car­toon­ist who serves as hon­orary chair­man of the Berg­amoTOONS as­so­ci­a­tion.

The pro­gram in­cluded a cock­tail party cel­e­brat­ing the 30th an­niver­sary of An­i­ma­tion Mag­a­zine, at­tended by its pub­lisher, Jean Thoren, who served as the open­ing pan­elist of the Berg­amoTOONS con­fer­ences.

David Sil­ver­man, who 30 years ago brought

Myles Lan­glois

Uses Un­real En­gine to bring its vi­sion of cy­berspace to life.

Fes­ti­val direc­tor Fed­erico Fiec­coni and David Sil­ver­man

Jean Thoren with Bruno Bozzetto en­joy­ing Berg­amo’s open­ing night

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