Wind­lan­ders Stu­dio: A New Hot Spot in the Ca­naries

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If you’re look­ing for a top-notch, full-ser­vice 2D/3D stu­dio of­fer­ing pro­duc­tion pro­duc­tions around the world, you should keep Stu­dio Wind­lan­ders in mind. The Ca­nary Is­lands-based stu­dio of­fers ac­cess to pro­fes­sion­als in Eu­rope.

“ videogame pro­duc­tion stu­dio which not only pro­duces its own works, but of­fers full ser­vice and co­pro­duc­tion to pro­duc­tion com­pa­nies around the world who want to get ac­cess to the Ca­nary Is­lands - bate of up to 40%, which is con­sid­ered the best in Eu­rope.” He adds, “Our stu­dio is a one-of-a-kind com­pany, es­tab­lished in sev­eral is­lands. We rely on one of the and dis­trib­u­tors which al­low us ac­cess to soft­ware li­censes and equip­ment (work­sta­tions, tablets, mo-cap tech­nol­ogy). I should also point out that in the Ca­nary Is­lands, the VAT is 0% for au­dio-vis­ual pro­duc­tions, equip­ment and li­censes.

Founded in 2018, Wind­lan­ders Stu­dio - duc­tion re­quires, be it 2D, 3D, stop-mo­tion, etc. “We up­date our team on a reg­u­lar ba­sis,” notes Her­nan­dez. “We can also ac­quire the work­ing space, any re­quired equip­ment and soft­ware li­censes. We do that through our pro­duc­tion c o m p a n y, which acts as a le­gal rep­re­sen­ta­tive of the in­com­ing for­eign pro- duc­tion in the is­lands, to man­age the ac On the other hand, if a for­eign pro­duc­tion we can act as co-pro­duc­ers as well”

Wind­lan­ders also pro­duces its own prop­er­ties as fran­chises for cinema, TV and 12 months, the stu­dio has tapped ten pro­fes­sion­als who spe­cial­ize in their spe­cial­ized artis­tic mod­ules, who will train the Is­lands-based stu­dents through Wind­lan­ders Art School.

One of the stu­dio’s up­com­ing pro­duc­tion is a chil­dren’s se­ries called Proyecto Amigo (Friend Project). “The show’s con­cept re­ceived the high­est rat­ing from the Ca­narian Gov­ern as­sis­tance for AV pro­duc­tions in 2017,” says Her­nan­dez. “Sev­eral in­ter­na­tional pub­lic broad­cast com­pa­nies have shown in­ter­est, and we hope to launch it in 2020. It is a trans­me­dia fran­chise which in­cludes a mo­bile game and AR apps to in­ter­act with. The story cen­ters on a young girl and her in­vis­i­ble friend, who travel to­gether to imag­i­nary and real worlds and help other chil­dren, while teach­ing moral and so­cial val­ues. The show has a big ed­u­ca­tional com­po­nent as the char­ac­ters help chil­dren around the world with their lo­cal is­sues. our in­vis­i­ble friends and in­ter­act with them and the TV se­ries.” For more info, visit wind­lan­ders-stu­

The dig­i­tal an­i­ma­tion sec­tor in Ecuador may be young, but its - tially in the past three years. An­i­mated projects of Ecuador have won ma­jor in­ter­na­tional fes­ti­vals like An­imago, Mun­dos Dig­i­tales, Sig­graph Asia and have suc­cess­fully been part of mar­kets around the world.

The strength on the re­gion´s an­i­ma­tion sec­tor comes from a decade of hard work from the pri­vate in­dus­try and the strength­en­ing of the academy. Ecuador has one of the oldest an­i­ma­tion pro­grams in South Amer­ica that awards Bach­e­lor de­gree on an­i­ma­tion.

- dus­try in Ecuador has mostly worked on pro­vid­ing ser­vices for the ad­ver­tis­ing in­dus­try, - ry on world-class projects un­der in­ter­na­tional stan­dards. An­i­ma­tion stu­dios in Ecuador are pro­vid­ing ser­vices for Latin Amer­ica, United States and Eu­rope.

A new gen­er­a­tion of - pe­ri­enced stu­dios and pro­duc­ers, to make the move into the con­tent in­dus­try, cre­ate co-pro­duc­ing op­por­tu­ni­ties to strengthen its ris­ing in­dus­try. “The stories told by our cre­ators don’t just fo­cus in their cul­tural roots, they also of­fer mod­ern and global per­spec­tives based on their own per­son­al­i­ties and styles, which would be ideal for in­ter­na­tional broad­cast­ers and dis­trib­u­tors” says Ecuador.

This in­crease in out­put from the coun­try’s pro­duc­ers and cre­ators has caught the at­ten­tion of in­ter­na­tional an­i­ma­tion mar­kets and fes­ti­vals such as this month in An­necy Festival, where an­i­ma­tion from Ecuador isn’t new.

Booby” by Gino Baldeon (pro­duced by MATTE CG) was screened out of com­pe­ti­tion. In 2017, Daniel Já­come from Ali­cia Stu­dio was se­lected for the MIFA Pitches of An­i­ma­tion du Monde with his project “Chakay, Mas­ter Line” by Fabian Gua­mani was se­lected for the Per­spec­tives cat­e­gory.

Be­cause of this ac­com­plish­ments Mifa - An­necy com­mis­sioned to the pro­ducer Paul Vaca from Al­terego a se­lec­tion of An­dean coun­tries projects for An­i­ma­tion du Monde 2018. The event was named “An­dean Call” and took place in QuitoEcuador the sec­ond week of Jan­uary gath­er­ing artists and pro­duc­ers from Colom­bia, Bo­livia, Peru, Venezuela and Ecuador. They par­tic­i­pated on chats and work­shops with Mifa del­e­gates to take their projects were sub­mit­ted for se­lec­tion and 2 won ac­cred­i­ta­tions to be in this year Mifa event.

This year Ecuador come­back to An­necy with sev­eral awarded projects and a nour di­rected by Luis Uson and An­dres Aguilar, pro­duced by MATTE CG has 10 in­ter­na­tional - in the festival and the only Latin-Amer­i­can team will also be rep­re­sented by pro­ducer Juan Fer­nando Terán at the Mifa with the very hu­man life of old car­toons.

The Smok­ing Mirror di­rected by Ed­uardo Vil­lacís and pro­duced by Ar­turo Yépez com- bines as­ton­ish­ing art­work with a very strong premise, how would the world be now if in­stead of Eu­rope col­o­niz­ing Amer­ica, the Aztecas col­o­nized project comes as part of the Mifa´s An­dean Call se­lec­tion.

Daniel Já­come re­peats his pres­ence at An­necy with his trans­me­dia panel “FLOW: Peo­ple for the Wa­ter”. A pub­lic-pri­vate project to raise wa­ter con­sump­tion aware­ness with a hook­ing apps, games, and se­ries.

Other Ecuado­rian projects on the mar­ket in­clude: “Ke­laku, the jaguar woman” Ro­dríguez; “The Crakoshan” se­ries project di­rected by Paul Mo­rales and Este­ban Erazo, and “Will and his lit­tle mon­ster,” se­ries project di­rected by Karla Chiri­boga and the Ecuado­rian-Bo­li­vian se­ries project “UGAMU”, di­rected by the Fabian Gua­mani, win­ner of the An­dean Call, will be pitched in Ai­ma­tion du Monde sec­tion of Mifa pitches.

This year, Ecuador at­tends An­necy’s MIFA cre­ators and pro­duc­ers whose ob­jec­tive is to seek co-pro­duc­tion deals for their projects in de­vel­op­ment, of­fer their ser­vices to stu­dios and broad­cast­ers, and con­tinue to con­sol­i­date their in­ter­na­tional pres­ence as a coun­try that of­fers busi­ness op­por­tu­ni­ties with young cre­ators and world-class qual­ity work.

Ac­com­pa­ny­ing the del­e­ga­tion are pro­fes­sors from the CO­COA – USFQ (Com­mu­ni­ca­tions and Con­tem­po­rary Art Col­lege), the uni­ver­sity with the oldest an­i­ma­tion school in the coun­try and a rep­re­sen­ta­tive of the In­sti­tute of Cinema and Au­dio­vi­sual Cre­ation of Ecuador (ICCA) with the pur­pose of strik­ing agree­ments with uni­ver­si­ties, funds and au­dio­vi­sual in­sti­tu­tions to put Ecuador in the map of world an­i­ma­tion. paul.vaca@al­, juan­, daniel@ali­ci­as­tu­, ed­uardo.vil­

tion and Fam­ily En­ter­tain­ment. “We are thrilled to have vi­sion­ary di­rec­tors such as Alessan­dro Car­loni, Vicky Jenson and Nathan Greno lead­ing the cre­ative teams on our up­com­ing movies.”

M That is, work­ing on a cre­ative team that

tor of such a team and want to climb even higher, uti­liz­ing this one strat­egy may be all it

look much fur­ther. How­ever, shift­ing your mind­set to­ward that of a busi­ness owner vs. more smoothly.

forms mar­ket­ing and ad­ver­tis­ing on a con­sis­tent ba­sis. Treat the rest of your ents. Use ad­ver­tis­ing and mar­ket­ing tech­niques to reach out to each and you have to of­fer and how you can

There is al­most al­ways a dis­con quar­ters in one city and there are sev have a clear idea or even cur­sory un­der­stand ing of what you and your team have to of­fer or how to get it. Hence the need for mar­ket­ing and ad­ver­tis­ing.

tations to your fel­low staff as if you were try ing to land new clients. Make it as in­ter­est­ing of your ser­vices, but ex­cited to re­quest them. not mean it has to be dull.

Chances are they would not be­come a client. On the other hand, if you wow them with a forms them of what you have to of­fer, but how busi­ness, the more re­quests you have for your ser­vices, the more work you will re­ceive, the more valu­able you will be­come to your com to swal­low wast­ing hun­dreds or thou­sands of

Cre­ate a menu of ser­vices and send it to ev to and try­ing to stay in touch with new and ex­ist­ing clients.

Make this menu as ac­com­mo­dat wards to re­quest your ser­vices. Re quest­ing your ser­vices should be as easy as or­der­ing food from a menu at your fa­vorite restau­rant. Along­side a should in­clude how many hours it er­age turn­around time looks like.

Even if you are not di­rectly in­volved ing your mind­set from that of a team leader to a busi­ness owner, think­ing of it busi­ness, and treat­ing your fel­low for you and your team, con­trib­ute more to the bot­tom line of will more than likely fast track your next Un­cle Scrooge treats ev­ery­thing as a busi­ness.

cents so you start be­com­ing more aware of to iden­tify how much your menu of ser­vices to de­liver each ser­vice.

The more you fo­cus on your work ef­fort

“For all our at­trac­tions, we work closely

though tech­nol­ogy re­searchers are look­ing at ver­sal for this ar­ti­cle didn’t re­veal any de­tails re­gard­ing those growth ar­eas at this time.)

should be some­thing the au­di­ence can­not get whether they’re based on a the­atri­cal fran chise or TV shows. In the case of “Mickey & Min­nie’s Run­away Rail­way,” which fea­tures two of Dis­ney’s sig­na­ture char­ac­ters, Carter

“This is a unique story and all of the an­ima vi­sion An­i­ma­tion to bring the char­ac­ters to world made fa­mous in the Mickey Mouse shorts. Char­ac­ters like Mickey Mouse, Min­nie they do on screen, thanks to the artists and screen and ride along on the ad­ven­ture. There are some amazing vis­ual ef­fects and trans­for eyes, all through the magic of an­i­ma­tion — and a lit­tle of our own Dis­ney magic.”

The same was true for Uni­ver­sal when the team set out to bring the Min­ions into their but they also add some­thing for view­ers who’ve seen the movies.

“We worked closely with Il­lu­mi­na­tion En ter­tain­ment on ev­ery­thing from the sto­ry­line of the attraction, to the de­tails in the queue, to these amazing stories and char­ac­ters to life. In many cases, they have al­ready seen the

Though nei­ther Uni­ver­sal nor Dis­ney would de­signs, it’s clear they have to work with the

an­i­ma­tion we use when de­sign­ing an at­trac will be at a higher res­o­lu­tion,” says Carter. “We also have to think about how our guests will our di­men­sional en­vi­ron­ments.”

At Dis­ney, the cre­ative team some­times work with an­i­ma­tors and vis­ual ef­fects artists from

the char­ac­ter an­i­ma­tion for ‘Mickey & Min­nie’s Run­away Rail­way.’ We’ve also worked with Walt Dis­ney An­i­ma­tion Stu­dios to bring char­ac­ters like Aladdin, Ariel and Moana to other of­fer­ings orig­i­nal an­i­ma­tors like Glen Keane and Mark

care­ful to honor the style and feel­ing of the tions. And there’s one sure way to make sure

lar­ity, sto­ry­telling and char­ac­ters fea­tured in the cre­ators.”

el­e­ments. How do you shoot in a city downtown in the day­time? You could stage it all on a blue that. David’s mind­set and my strong be­lief was

David Sche­une­mann was clever about com­ing it on week­ends,” he say. For­tu­nately, the natu ral el­e­ments were agree­able. “We were in cred­i­bly lucky for Van­cou­ver, which is fa­mous for rain and weather vari­abil­ity. That se­quence ul­ti­mately came to­gether well.”

Glass. “There were only a few sit­u­a­tions where we needed to over­ride that.”

the hu­man torch,” says Glass. “I wanted to do some­thing that felt dif­fer­ent and some­how grounded in re­al­ity. What if what he’s re­ally ble? We did some tests early on with these

as Colos­sus rel­a­tively late in the game, and so

This time around, the metal­lic mu­tant was con­structed us­ing ac­tual ge­om­e­try for his dif­fer­ently as their an­gles changed, but also “We built a hel­met with a se­ries of these met height and the metal was treated, aged and be cau­tious, be­cause in re­al­ity the ef­fect would dom­i­nate the im­age.”

An­ge­les for the bat­tle be­tween Colos­sus and a taken with the blood and gore. “That’s one more like a comic book.”

rus shots, and also did a se­quence fea­tur­ing of Us looked af­ter some fully CG en­vi­ron­ment shots and en­vi­ron­ment ex­ten­sions, while El Ran­chito did some work on Lock­wood’s manor.

An­i­ma­tron­ics were also uti­lized ex­ten­sively. grate an­i­ma­tron­ics and CG. If we didn’t have a and for our ac­tors to run away from.”

Au­di­ences will ac­tu­ally be able to see some ic be­cause the scale wouldn’t al­low for the hanced to get the in­ti­macy and sensitivity of a

The se­quel in­tro­duces a new hybrid called nosaur to be able to get down on all fours and could also go in­cred­i­bly slowly and get ex tremely low.”

The de­sign for the new crea­ture needed to found that it couldn’t run el­e­gantly be­cause shorten the front arms slightly be­cause the mode was cre­ated that looks amazing on an ter­sec­tion of gums and teeth re­quired care­ful con­vinc­ing.”

Vick­ery and his team unar­chived all of ILM’s mod­els, tex­tures and back­grounds built for Juras­sic World de­signer Andy Nicholson. “He worked with his art di­rec­tors to cre­ate this de­stroyed vi­sion of holes in the ceil­ing so that he could get his around in or­der to avoid green­screens as much in vis­ual ef­fects. It makes for a lot of roto.”

The team aimed to cre­ate as much of the but it gave us this won­der­ful in­ter­ac­tive light the wind­ward coast of Oahu). ILM en­hanced the huge vol­cano be­hind us. We had to in­tro be in. It would have been no good af­ter­wards to be in Hawaii with blue skies and in full, hard sun­light.”

The close col­lab­o­ra­tion be­tween vis­ual and ect. “It was some­thing that Neal said was ab so­lutely unique to him,” re­marks Vick­ery. “We to be the one that re­mained on the screen. It and an­i­ma­tron­ics to make sure that they both do what they do best?”

A lot of as­sets and shots were shared among go­ing back­wards and for­wards be­tween all of the ven­dors. ILM Lon­don as the hub of the tency of look and move­ment.” Vick­ery adds, “J.A. Bay­ona has noth­ing but the ut­most re Juras­sic Park and

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