”Edit1 is all about providing our clients with the best creative minds we can, and Todd is certainly that,” Zimbard says. “Between his experience in features, TV, advertising and pre-viz, there literally is nothing he hasn’t done in animation. He’s worked in traditional animation at Warner Bros. Animation and Hanna-Barbara, and was at the forefront of CG animated features with DreamWorks Animation and Blue Sky Studios. The level of talent and experience he brings to Edit1 is phenomenal.”
Most recently animation director at Launch, the animatics division of postproduction house Charlex, the LA-native Winter began his animation career as a layout artist at Warner Bros Animation where he worked on “Batman: The Animated Series,” and the now-classic animation/live action mash-up “Space Jam,” directed by advertising legend Joe Pytka.
Todd Winter: Career Highlights
1990-1996 — Warner Bros Animation: “Batman: The Animated Series,” “Space Jam,” “Quest for Camelot”
1998-2001 — DreamWorks Animation: “Road To Eldorado” and “Spirit: Stallion of the Cimarron”
2001-2004 — Blue Sky Animation: “Ice Age,” “Robots”
2006-2007 — Curious Pictures: “Chicago 10: Speak Your Peace” (Official 2007 Sundance Film Fest selection)
Looking for new creative challenges he joined the Ossining, NY-based Blue Sky Studios where he worked on the popular features “Ice Age and “Robots.” In 2008, following stops at Charlex (DP on the acclaimed 2006 short “One Rat Short”); and Curious Pictures (DP/Art Director on “Chicago 10: Speak Your Peace” — an Official Sundance selection in 2007), Winter turned his attention toward the niche world of pre-visualization and has never looked back.
“I was at Launch for four years and was looking for a new creative challenge, and when I met Michael I could see he was inspired to do things a little different and put his stamp on the company. I knew I wanted to be a part of what he’s building at Edit1.”
Winter adds that one of the aspects he appreciates most about ZImbard and Edit1 is the company’s willingness to push the boundaries of what defines pre-viz, such as the company’s in-roads into live action pre-viz productions.
“These live action test spots, which are shot against a green-screen and composted into animated environments in post, really communicate what a spot might look like because we’re using real actors,” Winter notes. “Not only does this approach help greatly when concepts are being tested, but also provides a much clearer road map for production and post teams later on during the full-up version.