TV PinGuim

Animation Magazine - - Frame- By- Frame -

Kiko Mistror­igo and Célia Catunda, TV Pin Guim stu­dio with many shows to their credit.

Their show Fishtro­naut Earth to Luna! — about a young girl and her love of science — that Ping and Friends The Char­lie Show

Tar­sil­inha, Tata to learn from book illustrations. It is also start­ing work on an­other Ni­hon­jin

In

Fishtro­naut, My Big Big Friend, Promised Land and Bubu and the Lit­tle Owls. Boris and Ru­fus Tuca, the Mas­ter Chef in Brazil with an eye on in­ter­na­tional dis­tri­bu­tion. Belli

homes in the best mar­kets all over the world.”

is that for­eign con­tent of any kind has al­ways like our­selves are viewed in very much the same light, I might add.) So, like any house mately de­cide who can stay the night.

We had a won­der­ful lo­cal trans­la­tor on us com­mu­ni­cate the nu­ances of our busi­ness etc. — with ease. These skills are very rare in a be­come an in­valu­able mem­ber of our team.

out­side of China,” Alice would say that “7% of the bud­get would be cov­ered out­side of China.” tent — and the dif­fer­ences in her num­bers so great — that none of us, in­clud­ing Alice ed in a heart­felt gift from Sharon and a card

met Hans a few times be­fore in Cannes, New dered if Hans would to mak­ing new con­tent. Af­ter all, we had sur­vived cre­ative and was dot­ted with dozens of col­or­ful yurts that were ac­tu­ally din­ing rooms. We’d been in and we were look­ing ev­ery­where for our yurt. right out of a Dr. Seuss book. Hans seemed to in­tuit the ques­tions that had been on my mind since the ac­qui­si­tion, and he an­swered them will­ingly they need some­thing. But I be­lieve they must be moti vated to run their own busi nesses their own way. I can in or­der to grow in a healthy way.” els let out a loud and oth­er­worldly camel cry, Hans’ man­age­ment style. I my­self was equal tions be­ing what they are, I thought it best not “Thanks for hav­ing me on the team, Hans.”

wanted it to look mod­ern, but have a throw “I had worked on Dis­ney’s Mickey show and in Peter Em­merich as art di­rec­tor, and we were Yogi Bear car­toons and suit the mod­ern sen­si­bil­ity of the show.

“I think our sto­ry­line and de­signs re­ally of our char­ac­ters are very sim­i­lar to Porky Pig’s that made it still mod­ern and also hon­ored the throw­back vibe of our char­ac­ters’ ori­gins.

The an­i­ma­tion is all hand drawn, orig­i­nat

While Har­vey Street Kids they are al­ways work­ing with the board artists “We re­ally mine our own child­hoods,” says Hay. “What is some­thing we did when we were kids of that? We work to­gether as a room. Then we do a ta­ble read with our artists and like to get

The team has been work­ing on an ac­celer ated sched­ule to make the sea­son’s de­liv­ery time in June, which is al­ways a chal­lenge. “The thing about stream­ing is that you have time to go back and tin­ker to make things bet­ter. But the other side of it is that you are build­ing the train while it’s al­ready mov­ing!”

of DreamWorks for al­low­ing them to re­ally each other a look, and we know ex­actly what the other one is think­ing.”

They are also both quite amazed at the cur­rent state of an­i­ma­tion and the crazy boom ev­ery­one is wit­ness­ing in the com­mu­nity. “There are a lot both con­tent cre­ators and au­di­ences.”

that our show’s core three char­ac­ters are so awe and de­sign­ers, the look of our show is so great. Our three leads are hi­lar­i­ous and awe­some … It

di­verse as our show. We have lots of dif­fer­ent

er­a­tion of young au­di­ences to the magic of Jay Ward’s world is some­thing that is al­ways on Fel­lows’ mind. “Rocky, Bull­win­kle, Boris and Natasha are four leg­endary char­ac­ters in the fore­front of an­i­ma­tion,” he says. “We were all our­selves to a lot of scru­tiny … How do you Strong had to honor the le­gacy of June Foray as she voiced Rocky … But ev­ery­one in Glen dale and Van­cou­ver wanted to honor this car very re­as­sur­ing that the art we had to work ing to the old car­toons.”

The new show’s cre­ators had to make sub­tle the sto­ry­lines of the clas­sic shows were so the end of the show, and we have act breaks like they used to.”

line. “I’m re­ally ex­cited to see how ev­ery­one will re­act to the show,” says Fel­lows. “You It’s re­ally ex­cit­ing to be in the mid­dle of this celebrity chef Gor­don Ram­say.)

Fel­lows says now that the show has de­liv thing right. “Of course, we have dead­lines and bud­gets, and don’t have an end­less amount of time, but ev­ery­one loves these char­ac­ters. I DreamWorks, and it’s been so great to be work

Dis­ney show is a lot like work­ing on a comic says Chris. “The writ­ing is al­ways the hard say a lit­tle some­thing about life or fam­ily, and that makes it a tall or­der.”

The Houghtons look back at their child hoods in Michi­gan quite fondly. “We didn’t Dis­ney af­ter­noon block,” says Shane. “Duck­Tales, Dark­wing Duck, TaleSpin, Res­cue Rangers … and of course, comic books, any­thing from Archie, Calvin and Hobbes and Fox­Trot. The Simp­sons and Fam­ily Guys were watch what­ever came on. Some­times, we’d even try to fol­low the an­i­mated shows that

with the Houghtons on Grav­ity Falls and col lab­o­rated on the Grav­ity Falls book with them,

cre­ator is in the show — that there’s some their char­ac­ters on the se­ries. They never be­cause they’re from the coun­try. In the show, whether they’re from ci­ties or small towns.”

draw. They also have yel­low skin, which makes them re­sem­ble The Simp­sons char­ac­ters.”

The look of Big City Greens also echoes some of the brothers’ fa­vorites. “We are big and greys of the city.”

the var­i­ous char­ac­ters of Big City Greens with we started,” Ren­zetti says. “It’s al­ways fun to see how they’re go­ing to in­ter­act with each Pickle turned out to be. She is a true equal one of our fa­vorite char­ac­ters on the se­ries.”

Ren­zetti, whose an­i­ma­tion ca­reer goes back to the days of 2 Stupid Dogs and Dex­ter’s Lab­o­ra­tory look, which we also had on Grav­ity Falls. It’s

The Houghtons also ab­sorbed a lot from Grav­ity Falls and Har­vey Beaks in terms of sty wanted the show to have that home­made look in Toon Boom Har­mony in Korea by Rough Draft and Su­gar­cube An­i­ma­tion Stu­dio.

leave us with a few words of wis­dom about suc­ceed­ing in an­i­ma­tion. “You should al­ways be mak­ing stuff,” says Shane. “Chris and I were were al­ways mak­ing things. You learn from

and clob­bers him with an elec­tric gui­tar. Nao “to smooth whole worlds.”

As Pro­gres­sive equally alien­ated young char­ac­ter. Hidomi her ear buds; she rarely talks to her class­mates or fam­ily. “Ini­tially, I thought about mak­ing a right away. I may be young, but there’s a huge You can’t cre­ate a be­liev­able char­ac­ter un­less you can iden­tify with her.”

of work­ing with char­ac­ter de­signer Yoshiyuki Sadamoto as strange as the FLCL char­ac­ters’ a rough de­sign and sent it to me. I’d re­view the de­sign and send feed­back while in bed. It may sound funny, but it saved us a lot of

of FLCL, Arai con­fesses that al­though he loves FLCL fan, too. But hon­estly, it’s still a mys­tery to me why it has such a big fan base in the U.S.,” he con­cluded. “Per­son­ally, I love where you dis­cover some­thing new ev­ery time fans as well? I wish some­one would tell me.”

“It’s the most in­ter­ac­tive Google who is an old friend from Pixar, with whom I worked on Windy Day and On Ice.”

Pinkava and Oftedal and their small crew of in­ter­na­tional an ima­tors, au­dio and tech­ni­cal Piggy as a great ex do com­edy when you are not in con­trol of the white back­ground like Po­coyo in the dis­tance like Omar Sharif in Lawrence of Ara­bia. He knows you are watch­ing his ev­ery move, but he wants to get his hands on this de­li­cious cho­co­late cake un­der a dome. It’s all

to dis­tract the viewer, so that they will di­vert their at­ten­tion away from the cake. “It’s a tradi tional frus­tra­tion sce­nario, like the old Warner end, fully re­al­ized CG an­i­ma­tion. It’s struc­tured in a way that you get the sen­sa­tion of be­ing in aware of you. We added eye track­ing so that it feels that Piggy is al­ways look­ing at you. You

stantly guess­ing what the au­di­ence is look­ing that Piggy wants you to look away from the cake, so he is go­ing to fake you out,” says the the cake, Piggy’s be­hav­ior is go­ing to change. He will try to get you to look away. So, we needed dif­fer­ent an­i­ma­tion and sound de­signs for ev­ery sce­nario.”

The team started out with a fairly lin­ear story, the au­di­ence and for Piggy, new chunks of ani ma­tion were cre­ated to serve the story. “Some

gle Eye in San Fran­cisco, the an­i­ma­tion for the short was made by com­bin­ing Maya’s stan­dard Piggy was used as a re­search nooks and cran­nies and the foibles of our sys tem. The tech­nol­ogy is all about the ev­ery­one is fa­mil­iar with.”

Pinkava and Oftedal worked with a one,” says Oftedal. “We were also de we were mak­ing the show. You would run into sit­u­a­tions when you needed a func­tion­al­ity that we didn’t have, so you’d re­quest it, and the tech­ni­cal team would build it for you.” Oftedal, who be­gan his ca­reer as an artist on The Simp­sons and moved on to be­come an an­i­ma­tor on Toy Story, Toy Story 2 and A Bug’s Life Mon­sters Uni­ver­sity and In­side Out, says he feels work­ing on work­ing at Pixar in those early years. “Work­ing on Toy Story ence, and now we feel the same ex­cite­ment fol­lows a dif­fer­ent di­rec­tion and style. We are the same time as the tools and soft­ware are and you un­der­stand why Piggy was one of the

One of the thrills of be­ing around when a new art form takes off is Bat­tleS­car by Ar­gen­tine di­rec­tor/writer/il­lus­tra­tor Nico Casavec­chia and artist/an­i­ma­tor/di­rec­tor Martin Al­lais.

The short, which fea­tures the voice of ac­tress Rosario Daw­son, fol Bat­tleS­car at the Sun­dance Film Festival ear­lier this year, and can be seen at the world.

Just Kids, Patti Smith’s ac­claimed cool that world was,” says Casavec­chia. “It felt so real and im­mer­sive, and you didn’t want to leave that world. That’s why we thought that era

stantly ask, is this the best way to trans­late your idea to this medium?” work­ing in VR.”

A Boy and His Atom, which was cre­ated by IBM re­search sci­en­tists and made by mov­ing car­bon monox­ide mol­e­cules. A big fan of Hayao Miyazaki and Don Hertzfeldt, the di­rec­tor says he loves us­ing this new im­mer­sive new tools and new ways of think­ing. You don’t have ed­its and fram­ing. So, you have to cre­ate new strate­gies to cre­ate mean­ing. It’s all very ex­cit­ing!”

Fans of vir­tual re­al­ity and an­i­ma­tion dis that took view­ers in­side the world cre­ated for Wes Anderson’s Isle of Dogs, in col­lab­o­ra­tion to look closely at the “Isle” and its moun­tains of garbage, lis­ten to con­ver­sa­tions with the main char­ac­ter dogs and — when you look around and be­hind you — see the an­i­ma­tors done to scale, so that the dogs are the small

lo­ca­tions in Santa Mon ica and Mon­treal that was founded by di­rec­tors and they’re cur­rently at dif­fer­ent stages of de

“We wanted to be our own stu­dio, so we have both the cre­ative, like Felix and Paul, and we also have our own tech­ni­cal team, who are of Felix & Paul Stu­dios. “We de­cided we would make our own cam­era that would do the things we needed, do our work. We’re on the fourth gen­er­a­tion of our cam­era. Our con­tent — what we make — and the tech­nol­ogy we use to make

gree video called Strangers, which al­lowed er­ally cre­ate some­where be­tween seven and with their own crews and tech­nol­ogy from VR Isle of Dogs so new, they of­ten han­dle their own dis­tribu VR con­tent haven’t been es­tab­lished yet. But

Philadel­phia-based an­i­ma­tor Nick LeDonne is pre­par­ing to tell stories in a new way af­ter com­plet­ing a trilo

LeDonne Films LLC is a new in­de­pen­dent an­i­ma­tion stu­dio merg­ing an­i­mated sto­ry­telling with pub­lic speak­ing to ad­dress life-sav­ing so­cial is­sues. The idea started with LeDonne’s de­but Hang­ing (2016), fes­ti­vals earn­ing mul­ti­ple awards.

- mer per­sonal strug­gles with depression - enced in col­lege dur­ing 2014. Af­ter a suc­cess­ful festival cir­cuit, Hang­ing made its way into the men­tal health con­fer­ences such as the Cana­dian Men­tal Health As­so­ci­a­tion’s MH4A na­tional con­fer­ence and the 26th Euro­pean com­mu­nity with Dr. Rus­sell Copelan, a lead­ing psy­chi­a­trist on ado­les­cent sui­cide stat­ing that Hang­ing, “char­ac­ter­izes the acute de­struc­tive jour­ney of both ac­cu­rately and pow­er­fully.”

The 24-year-old an­i­ma­tor con­tin­ued to tell per­sonal stories in­de­pen­dently mak­ing - Dear Dad (2018), which will be pre­mier­ing this win­ter, retells the last mo­ments with his father who passed away un - Donne never got to say in per­son. It de­liv­ers a mes­sage of bring­ing fam­i­lies to­gether while we can still tell them we care.

Reach­ing OUT (2019), a pre­quel story to Hang­ing, re-tells the per­sonal events that lead up to LeDonne’s near sui­cide at­tempt; ad­dress­ing LGBT top­ics of com­ing and re-an­i­mat­ing per­sonal trau­mas al­low­ing him turn his life neg­a­tives into a posi-

LeDonne isn’t shy about speak­ing on - - ing pro­gram “From Hang­ing to Hang ON”, which pre­miered this past April at the Ramapo Col­lege of New Jersey. At­tend­ing stu­dents gained a mo­ti­va­tional look into LeDonne’s life through a unique sto a base, LeDonne hopes to show youth a path to per­se­ver­ing against over­whelm­ing ob­sta­cles by hold­ing onto your dreams and the peo­ple who mat­ter the most.

“When I went through my own hard­ships I wanted to make sure I was brought down for a rea­son, and that rea­son be­came to pick oth­ers up” says LeDonne. that no mat­ter how dark life gets for you, your story when you hang on to tell it.”

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