TV PinGuim

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.”