How Montreal’s Diverse Animation Scene Has Weathered One Year Of Covid
Our series on Canada's animation hotspots concludes with a profile of Montreal, home to one of the country's most vibrant animation scenes.
Our series on Canada's animation hotspots concludes with a profile of Montreal, home to one of the country's most vibrant animation scenes.
The St. Louis, Missouri studio behind "Hair Love" is growing fast — and building up a division in Argentina.
Post-pandemic, the British studio will adopt a new flexible work model. Co-founder Tom Box tells us how it will work.
The tool promises "to take real-time digital human creation from weeks or months to less than an hour."
The Ottawa-based service studio announced last fall that it is branching out into originals.
The feature will be made with Unreal, Epic's widely used real-time engine.
The media conglomerate has had a rough 2020, with production revenues falling 53.7% year-on-year in the third quarter.
The studio has worked on projects including "Klaus" and the "Animaniacs" reboot. Its slate of originals includes five series, for kids and adults.
In a Youtube video, Calderon appraises the major studios' strategies, praises the industry's growing diversity, and singles out the companies that deserve more airtime.
The agency will work on licensing and merchandising around the hit anime title, which comes out in North America early next year.
The director describes the software's unique advantages, and explains how he harnessed them in his recent commercial for Ariana Grande's R.E.M. fragrance.
"Tiktok is the perfect platform for experimentation. We’ve learned in two months what would have taken years in any other medium," say the creators of "Noodle and Bun."
Launching the new venture, Neumann cited the growing demand for animation in the Covid era.
The studio currently has 15 original series concepts in its pipeline.
Eighty-hour workweeks, humiliation by bosses, and a "deeply disturbing" contract are among the factors that some say drove one vfx worker to suicide.
We speak to four studios about what it takes — and what it costs — to make cg visuals for theme park rides.
A caveat: that growth has been entirely reversed by the pandemic.
Matt Maloney, associate chair of Savannah College of Art and Design’s animation department, describes how the pandemic could change the industry for the better.
Please don't show this to the Walt Disney Company.
"I just don't think we'll ever get something that game-changing in animation again," says Louis of Katsuhiro Otomo's cyberpunk classic.