20 Years

Animation Magazine - - Anniversary Spotlight -

Atomic Car­toons: Thun­der­bird Ent.’s full-ser­vice Van­cou­ver stu­dio cre­ates, pro­duces and fi­nances an­i­ma­tion for mul­ti­ple plat­forms. The stu­dio’s iconic se­ries Atomic Betty blasted off in 2004, joined by Rocket Mon­keys, Cap­tain Flamingo and more. Most re­cently, Atomic’s top-tier tal­ent helped bring Princesses Wear Pants, 101 Dal­ma­tian Street and Hilda to screens. atom­ic­car­toons.com

ISART Dig­i­tal: Lo­cated in Paris, the Cgi-cen­tric col­lege of­fers tracks pre­par­ing stu­dents for creative, re­ward­ing ca­reers in 3D an­i­ma­tion, vis­ual ef­fects and video games. Alumni in­clude Pixar light­ing artist and tech­ni­cal direc­tor Jeremy Vick­ery. www.isart.com

Mel­nitsa An­i­ma­tion Stu­dio: The largest an­i­ma­tion stu­dio in Rus­sia with over 400 em­ploy­ees and the ca­pac­ity to pro­duce 600 min­utes of an­i­ma­tion an­nu­ally, Mel­nitsa has made its name with the broad­cast and li­cens­ing suc­cess of se­ries such as Moonzy ( Loon­tik in Rus­sia) and The Bark­ers ( Bar­boskiny). It also stands out for its art di­rec­tion, lead by two-time Os­car nom­i­nee Kon­stantin Bronzit. Mel­nitsa’s most re­cent pro­ject is Lit­tle Tiaras, a 26 x 6’ Rus­sian folk­tale se­ries for girls 4-9, launched at MIPCOM. mel­nitsa.com/en

Toonz An­i­ma­tion: The high-tech Tri­van­drum stu­dio has been a pi­o­neer of the In­dian in­dus­try for two decades. Build­ing on suc­cess­ful co-pro­duc­tions with Dis­ney, Turner, Nick­elodeon, arvel, etc., Toonz now pro­duces more than 10,000 min­utes of 2D and 3D an­i­ma­tion ev­ery year for projects as di­verse is Wolver­ine and the X-men, The Gummy Bear Show Sher­azade: The Un­told Sto­ries. toonz.co

Top Draw An­i­ma­tion: Based in the Philip­pines, Wayne and Stella Dear­ing’s in­ter­na­tion­ally rec­og­nized stu­dio (now part of Grom So­cial) spe­cial­izes in 2D an­i­ma­tion, pro­duc­ing more than 250 half-hours an­nu­ally and tot­ting up more than 2,000 half-hours over the years. These in­clude hit se­ries My Lit­tle Pony: Friend­ship Is Magic, Penn Zero: Part-time Hero and The Mr. Pe­abody & Sher­man Show. www.top­drawan­i­ma­tion.com

Dreamworks An­i­ma­tion: Founded by Steven Spiel­berg, Jeffrey Katzen­berg and David Gef­fen, DWA has racked up many world-shak­ing an­i­ma­tion achieve­ments over the years. It won the first An­i­mated Fea­ture Os­car with Shrek in 2001 and has de­liv­ered a to­tal of 35 fea­tures across top-earn­ing fran­chises in­clud­ing Kung Fu Panda, How to Train Your Dragon and Mada­gas­car -- earn­ing over $14 bil­lion as of Oct. 2017. Now part of Univer­sal Filmed Ent., the stu­dio will this year re­lease How to Train Your Dragon: The Hid­den World and yeti pic Abom­inable (with Pearl Stu­dio). www.dream­work­snan­i­ma­tion.com

Toon Boom An­i­ma­tion: Uti­lized around the globe, Toon Boom’s soft­ware so­lu­tions Har­mony and Sto­ry­board Pro have been adopted by ma­jor an­i­ma­tion pro­duc­ers, bou­tique stu­dios and in­di­vid­ual artists to cre­ate movies, TV shows, games and com­mer­cials. For ex­am­ple, close to 20 of the 2018 Emile Award nom­i­nated pro­duc­tions used Toon Boom -- from Les Ar­ma­teurs’ A Man Is Dead to Aard­man An­i­ma­tions’ Early Man to Car­toon Saloon’s The Bread­win­ner. www.toon­boom.com

vis­ited the Veg­gi­etales team in Nashville on a weekly ba­sis to help them get set up (and to taste-test as many bar­be­cue joints as pos­si­ble). We went to Van­cou­ver just as fre­quently — we had half a dozen shows in pro­duc­tion at var­i­ous part­ner stu­dios there. On one trip for Dinotrux, Jeff De­gran­dis (exec pro­ducer), Katie Ely (line pro­ducer) and I were sched­uled on a very early morn­ing flight. Jeff and I ar­rived early and dozed at the gate un­til they an­nounced board­ing. At that point, Katie still hadn’t shown up: she’d over­slept and was rac­ing to LAX. (She was work­ing very long hours and line pro­duc­ing sev­eral se­ries at that point.) We asked the gate agent if we could hold the plane. No. We boarded as late as we could, but were un­able to de­lay the de­par­ture. Katie would have to catch the next flight and meet us there. Hav­ing made the trip to Van­cou­ver so of­ten, we were very fa­mil­iar with the flight pat­tern — take­off was a straight shot out over the Pa­cific, then a slow, grace­ful curve north­ward along the coast. We be­gan our climb over the wa­ter, and then made the usual turn north. Then the … turn east? As we cir­cled back to­ward the air­port, the pi­lot an­nounced there was an is­sue with the air cir­cu­la­tion sys­tem forc­ing us to re­turn to LAX. Jeff turned to me and glee­fully ex­claimed, “We’re go­ing back for Katie!” We re­united with Katie at the gate, booked the next flight and made it to Van­cou­ver in time for our meet­ing. We are con­vinced the pi­lot man­u­fac­tured that ex­cuse and re­ally went back just to get our beloved Katie. Ev­ery time I take off for Van­cou­ver, I’m re­minded of Jeff’s happy ex­cla­ma­tion. Rea­sons for Suc­cess: That’s an easy one: Ev­ery­one works to­gether to­ward the same goal. We ac­tively foster a pos­i­tive, col­lab­o­ra­tive cul­ture and we work with the best tal­ents in the in­dus­try. Defin­ing the Brand: High-qual­ity fun! I like that we don’t have a de­fined “house look” and that we’re able to cre­ate beau­ti­ful work in many dif­fer­ent styles. Wildest Anec­dote:

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