Games In­ter­sect

Animation Magazine - - Tv -

If you sit long enough on your sofa or or CG-an­i­mated TV se­ries, you may no­tice Known for cre­at­ing stun­ning an­i­ma­tion and the most pop­u­lar movie fran­chises of all time — such as Star Wars, The Avengers and Juras­sic World. Thor: Rag­narok, Star Wars: Episode VIII — The Last Jedi and Star Wars: Rebels (the TV se­ries) are some of the lat­est projects the stu­dio worked on.

Many might be sur­prised to learn the stu­dio has many more strings to its bow, and also took part in the pro­duc­tion of games such as Hori­zon Zero Dawn, Fi­nal Fan­tasy XII and Mon­ster Hunter World that have sold mil­lions of copies.

With head­quar­ters based in Ho Chi of the mas­sive Vir­tuos Group in 2011. spe­cial­iz­ing in game de­vel­op­ment and AAA 3D art pro­duc­tion across eleven lo­ca­tions world­wide.

than 300+ di­verse artists, work­ing with 18 of the world’s top 20 dig­i­tal en­ter­tain­ment com­pa­nies to pro­vide top-qual­ity as­sets for games and - ima­tion pipe­line from pre­vi­su­al­iza­tion to ren­der­ing.

In to­day’s en­ter­tain­ment land­scape, pro­duc­ers de­velop trans­me­dia IP for a se­lec­tion of lin­ear and non-lin­ear plat­forms to match the way con­sumers en­joy con­tent. Along­side the movie or TV se­ries, are the Apps, games and even smart in­ter­ac­tive toys. This con­ver­gence be­tween - tic op­por­tu­ni­ties, but it also re­quires the com­bined know-how and skills from both in­dus­tries.

- al pro­duc­tion pow­er­house: from the ear ren­der­ing we are al­ways think­ing 360 de­grees,” says the stu­dio’s cre­ative busi­ness de­vel­oper François Belot. “Our an­i­ma­tion di­rec­tors and game de­sign­ers sits down to­gether to bring the best prac­tices from both in­dus­tries, iden­ti­fy­ing at an early stages the pit­falls, un­der­stand­ing what can be reused and mak­ing sure the tran­si­tion from a TV se­ries to game is as smooth as pos­si­ble.”

The stu­dio’s gen­eral man­ager, Harry of his team. “The com­bi­na­tion of 90% lo­cal tal­ents and around 10% over­seas tal­ents brings a rare cou­pling of East­ern & Western sen­si­bil­ity, cre­ativ­ity and per­for­mance, with an added French touch!” he notes.

The stu­dio, which is cur­rently work­ing on a 3D an­i­mated French fea­ture, as well as TV spe­cials for a top IP, works with a wide range of an­i­ma­tion and dig­i­tal tools to de­liver cut­ting-edge an­i­ma­tion and vi­su­als to its global stu­dio part­ners.

very strong and high-qual­ity in-house train­ing and the nur­tur­ing of artists from the very be­gin­ning with knowl­edge, pas­sion and tech­ni­cal knowhow,” says an­i­ma­tion di­rec­tor Pa­trice Com­pagnon. “We want to keep this unique blend of cul­tures to con­tinue pro­vid­ing our clients su­perb ser­vices. We love the whole process of sto­ry­telling and pro­duc­tion, and shar­ing a cre­ative vi­sion with our clients.”

- pand its part­ner­ship with North Amer­i­can and ma­jor world­wide play­ers for an­i­mated con­tent in the year ahead. As Belot puts it, “We would like to con­tinue of­fer­ing the per­fect blend of tal­ents and skills to cre­ate high-qual­ity an­i­ma­tion

Toronto’s Yowza! An­i­ma­tion has been one of the key providers of top-qual­ity ser­vice to an­i­mated fea­ture and se­ries pro­duc­ers for 22 years. Founded by Claude and Lucy Chi­as­son in 1996, the com­pany’s many in­ter­na­tional clients in­clude Dis­ney Fea­tures, Warner Brothers An­i­ma­tion Stu­dio, DreamWorks, Nick­elodeon, Uni­ver­sal and Sony Pic­tures An­i­ma­tion.

Yowza’s 160-seat, 9000 square-foot fa­cil­ity pro­vides top-of-the-line tra­di­tional, clas­si­cal, hand-drawn ser­vice, us­ing tools as di­verse as Toon Boom, Flash, Maya, Blender, Adobe Cre­ative Suite, ZBrush, Avid and Crainiac. Other no­table projects of the past decade in­clude Kung Fu Panda: Se­crets of the Scrolls (DreamWorks), Dan Vs. (Starz), Win­nie the Pooh (Dis­ney f) and The Princess and the Frog (Dis­ney), Cu­ri­ous Ge­orge (Uni­ver­sal) and the award-win­ning Dis­ney Goofy short, How to Hook Up Your Home The­ater.

- plains, “It’s great to see the an­i­ma­tion - ed to see tra­di­tional an­i­ma­tion mak­ing a lit­tle bit of a come­back. I be­lieve we are par­tic­u­larly well-po­si­tioned to take advantage of this uptick. Not only do we per­for­mance in tra­di­tional an­i­ma­tion, but we have tran­si­tioned our team to be able to per­form to the same qual­ity level across all styles and plat­forms. Our team works in a re­cip­ro­cal, col­lab­o­ra­tive fash­ion with our clients to bring about the best look and feel that they are aiming to ac­com­plish in their sto­ry­telling con­tent”

Walker says she loves work­ing in an­i­ma­tion as it al­lows her to ap­ply her high level of strate­gic skills along with cre­ative and

When asked about her men­tors, Walker men­tions an­i­ma­tion in­dus­try veter­ans Lenora Hume and Joan Vo­ge­le­sang, who led Toon Boom Stu­dios for many years. She also notes that the stu­dio co-founder Claude Chi­as­son has been very sup­port­ive af­ter she bought Yowza! in 2016. “To­gether we have been able to en­sure that the com­pany con­tin­ues with the val­ues that were there from the very be­gin­ning. In my own per­sonal life, I learned a great deal from my father, that one gets from be­ing a true en­tre­pre­neur, in­te­grat­ing the ab­so­lute re­spect for and open­ness to peo­ple that work with you in your com­pany. At Yowza, we have a very fam­ily-ori­ented cul­ture.”

Chi­as­son also points out an­i­ma­tion has been a pas­sion close to his heart. “I’m do­ing some­thing I love, and I love work­ing with very cre­ative peo­ple,” he says. “I’m also very happy to see that there’s a resur­gence in tra­di­tional-style an­i­ma­tion. My men­tor is my older brother Roger. I was his assistant for many, many years, and that’s how I learned about the busi­ness. He taught me the ropes and he’s my big

“The dif­fer­ent chal­lenges of each in­di­vid­ual project is what makes the job in­ter­est­ing,” adds Chi­as­son. “We try to achieve the best qual­ity pos­si­ble—and stu­dio’s men­tor­ship process is a project they’re work­ing on now. “We took some very high qual­ity tal­ented hand-draw­ing an­i­ma­tion crew in the in­dus­try who had never learned Toon Boom soft­ware, and trained them on it,” she notes. “We took young an­i­ma­tors who had the po­ten­tial to draw well, but never had the op­por­tu­nity to learn hand-drawn an­i­ma­tion, and in this way, men­tored two dif­fer­ent si­los of peo­ple at the same time on the project, and it’s work­ing re­ally well.”

It’s this pas­sion for hand-drawn qual­ity an­i­ma­tion that drives Walker and her this level of art­ful­ness and qual­ity across all the new tech­nolo­gies in the mar­ket to­day,,” she con­cludes. “And I love to work with our crew. I’m driven by the pride I feel in the work that Yowza pro­duces.

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