Tagged With: Production
The Academy of Motion Picture Arts & Sciences has announced the Academy Award/Oscar nominees for films made in 1998. The nominees in the Best Animated Short Film category are:
JOLLY ROGER, an Astley Baker production directed by Mark Baker.
THE CANTERBURY TALES, an S4C production written and executive directed by Jonathan Myerson.
BUNNY, a Blue Sky Studios production written and directed by Chris Wedge.
WHEN LIFE DEPARTS, an A Films Aps production directed by Karsten Killerich and Stefan Fjeldmark.
We asked key industry figures to predict the trends, and biggest changes and events in animation that 1999 will see. The results were surprising. While animation is booming a shift in the work load is coming...
Zahra Dowlatabadi takes a look at where the jobs will be in 1999 by examining the health of several major players in the feature, computer graphics (CGI), television and direct-to-video animation markets.
AWN General Manager Annick Teninge traveled to the Indian Ocean island of Rnion to attend the third "Crossroads of the Image of the Indian Ocean" conference which tries to unite this remote locale with the European animation industry. Available in French and English.
MEDIALAB, a real-time performance animation production company, and Cine-Groupe, a production house and distributor of animation, have joined forces for the first time in a co-production deal that will see two properties, Pinocchio 3001 and Sphinx@com, developed into computer-generated animated feature films and television series. These projects will be produced over the next four years using MEDIALABs propietary performance animation techniques.
Richard Morss has joined UK-based digital production company, Peppers Ghost Productions (PGP) as Executive Creative Director. Morss had been Controller of Childrens Programs at United Film and Television Production prior to his appointment at PGP. This follows the hiring of Alan Marques, who joined PGP last month as head of production. PGP Managing Director Paul Michael stated that this represents a shift of focus for the company.
Canada's television and cinema production and distribution group, Coscient Group, announced that their subsidiary Cactus Animation has started production on two new animated series: "Pirate Family" and "Fantomette." The animated comedies are a co-production with French company Elma Animation and have a total budget of $22 million. The series, each composed of 26 half-hour episodes, have already been pre-sold by Motion International, Coscient Group's distribution subsidiary, to a number of markets.
Gribouille, a CGI production company based in Europe and North America, has begun production on two new computer-animated television series. Xcalibur, designed by French artist Philippe Druillet and directed by Didier Pourcel, is being produced in association with Canal +, Ellipsanime, France 2 and Cactus Animation for a targeted late 1999 delivery. Micronauts, based on an existing line of action-figures and Marvel comics, is being produced with Abrams/Gentile Entertainment, Kaleidoscope Media Group and Annex Entertainment, and may be ready as early as fall 1999.
Paris-headquartered motion-capture animation company, Medialab and Canadian animation studio, Ciné-Groupe, a subsidiary of Lions Gate Entertainment, have agreed to a four-year co-production deal. The two companies plan to co-produce two computer-animated theatrical films and two TV series. The first project, starting production in December, will be Pinocchio 3001, a futuristic rendition of the classic tale.
Nickelodeon has signed a deal with Italian broadcaster Radio Televisione Italiana (RAI) to produce the first localized foreign-language version of Blues Clues. The show will premiere on the RAI UNO network in the second quarter of 1999. In Italy, RAI will localize the series by using the same blue-screen technology used on the original production to insert an Italian, live-action host into the existing computer animation. Nickelodeon plans to make similar sales to other countries, as this production concept was designed into the show from its inception.
The Harrison, New York-based East Coast office of Blue Sky | VIFX has promoted Michael Feder to associate producer. Feder came to Blue Sky | VIFX in 1997, following production stints at Turner Pictures Worldwide and Jersey Films in Los Angeles. Blue Sky | VIFX's CEO David Brown stated, Mike really deserves this promotion and I believe with his strong production background and experience he will continue to make significant contributions to building the studio's relationships with the New York production community.
Animation editor and producer Lee Gunther passed away on August 25 following a stroke suffered the previous day. He was 63 years old. A memorial service was held on Saturday, August 29 at Forest Lawn in Burbank, California. Starting at Warner Bros. in the 1960s and then at DePatie-Freleng studios from 1964-1978, Gunther was a film editor on more than 85 animated shorts in all. At DePatie-Freleng, he also worked as an executive in charge of production in the 1970s.
Julien Dubois reports on the 1998 MIP-TV market in Cannes, revealing a troubled international marketplace for animation.
Tania Nasielski describes the projects of Belgium's Atelier Graphoui, an animation studio that helps the silent be heard through pro-social projects in developing nations.
Tania Nasielski drit les activit de l'Atelier Graphoui, studio belge d'animation, qui rlise des projets sociaux-culturels dans des pays en voie de deloppement. Deux de ces projets sont present dans ce numo, l'un rlisen Afrique, l'autre en Bolivie.
Wild Brain's Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.
Wild Brains Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.
Michael Hirsh explains firsthand the recipe for success that has NELVANA's co-productions filling the airways on both sides of the Atlantic and beyond.
With animation booming in Vancouver, Sean Maclennan Murch explains how and why studios there are trying to sashay out of contract work and into their own properties.
Jerry Hibbert, drawing from his own experience, provides some thoughts on the need for production companies to embrace change.