In Pro­duc­tion

Animation Magazine - - Tv -

Philip Ein­stein Lip­ski, Amalie Naesby Fick & Jo­er­gen Ler­dam, 82 mins., 3D com­puter, Nordisk Film Pro­duc­tion (Den­mark), Ein­stein Film (Den­mark) & A. Film (Den­mark) The Lit­tle Vam­pire, Karsten Ki­ilerich & Richard Claus, 82 mins., 3D com­puter, stereo­scopic 3D, First Look (Nether­lands), Comet Film (Ger­many) & A. Film Pro­duc­tion (Den­mark) Zom­bil­le­nium, Arthur de Pins & Alexis Du­cord, 74 mins., 3D com­puter, stereo­scopic 3D, Maybe Movies (France) & Belvi­sion (Bel­gium) Zooks, Kristoff & Dim­itri Leue, 90 mins., 2D com­puter, 3D com­puter, cross-me­dia con­cept, Potemkino (Bel­gium), SANCTA (Bel­gium) & The Fridge (Bel­gium)

Preschool The Wind in the Reeds, Ar­naud De­muynck & Ni­co­las Liguori, 65 mins., 2D com­puter, La Boîte...Pro­duc­tions (Bel­gium), Nadasdy Film (Switzer­land) & Les Films du Nord (France)

Young Adults & Adults Bom­bay Rose, Gi­tan­jali Rao, 90 mins., 2D com­puter, draw­ing, Les Films d’Ici (France) & Cines­taan In­ter­na­tional (United King­dom) The Tower, Mats Grorud, 75 mins., 2D com­puter, stop-mo­tion, (Nor­way), Les Contes Modernes (France) & Ci­nenic Film (Sweden) con­cept, Lu­pus Films (United King­dom) & Melu­sine Pro­duc­tions (Lux­em­bourg) Ben­jamin Ren­ner & Pa­trick Im­bert, 78 mins., 2D com­puter, Fo­li­vari (France), Stu­dioCanal (France) & Panique! (Bel­gium) [

There’s noth­ing quite like hav­ing a front-row seat to his­tory be­ing made. That’s what it feels like look­ing back through the pages of An­i­ma­tion Mag­a­zine from 1993 through 1995, as we con­tinue our 30th an­niver­sary ret­ro­spec­tive.

It was a pe­riod where an­i­mated con­tent for all ages was ex­plod­ing in pop­u­lar­ity on tele­vi­sion, fea­ture an­i­ma­tion was still rid­ing the up­swing of the Dis­ney Re­nais­sance, re­sult­ing in one of the medium’s most-pop­u­lar and beloved fea­tures; and tech­nol­ogy con­tin­ued to trans­form pro­duc­tion, with ma­jor ad­vances be­ing made al­most daily.

Com­puter an­i­ma­tion be­came re­al­ity in these years, with the first is­sue of 1993 in­clud­ing a “Who’s Who in Com­puter An­i­ma­tion,” as well as a cover tease for an ar­ti­cle on the CGI “mas­ter­piece” mu­sic video for Peter Gabriel’s tune “Steam.” This is­sue also fea­tured a col­lec­tor sup­ple­ment, a fea­ture than ran for a short time in the mag­a­zine spot­light­ing an­i­ma­tion art and col­lectibles.

The sum­mer is­sue in­cluded a look at the dig­i­tal rev­o­lu­tion in post pro­duc­tion, while the au­tumn tome from that year fea­tured on the cover Mar­garet Loesch and the hits of the Fox Chil­dren’s Net­work, which had bro­ken out with such pop­u­lar shows as X-Men, Tiny Toon Ad­ven­tures, Where on Earth Is Car­men Sandiego and Bat­man: The An­i­mated Se­ries. It also in­cluded a con­tro­ver­sial view­point from Ren & Stimpy cre­ator John Kric­falusi, a fea­ture that re­curred as a col­umn.

The fi­nal is­sue of 1993, per­haps more than any other, put its finger on the cre­ative pulse of an­i­ma­tion at the time, fea­tur­ing ev­ery­one’s fa­vorite mo­ronic head bangers Beavis & Butt-head as part of a look at out­ra­geous an­i­ma­tion.

That also was the end of the prac­tice of putting an­i­ma­tion cre­atives or ex­ec­u­tives on the cover, of­ten in­ter­act­ing with their cre­ations. From 1994 on, the mag­a­zine’s cov­ers be­gan to fo­cus more di­rectly on high-qual­ity art­work from an­i­ma­tion projects, play­ing to one of the art-

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