Ideatoon 2020: A Snapshot Of Latin American Animation Today
We speak to finalists in this year's pitching contest about the benefits and challenges of creating animated IP in the region.
We speak to finalists in this year's pitching contest about the benefits and challenges of creating animated IP in the region.
Cinemas floundered in the West while the box office rebounded in the East. Then there's Quibi…
"We love drawing and have always wanted to express ourselves creatively in that medium," say the show's developers.
We speak to four studios about what it takes — and what it costs — to make cg visuals for theme park rides.
"I just don't think we'll ever get something that game-changing in animation again," says Louis of Katsuhiro Otomo's cyberpunk classic.
"The animation industry is still a boys' club," says Hannah Lau-Walker, founder of She Drew That.
We speak to MDEC, the dynamic government agency fueling Malaysia's animation boom.
Release date reshuffles, a "Lion King" sequel, a new studio from Don Bluth, and more…
"I wasn’t sure what the film was about," says Clapin, "and that hardly mattered to me."
"In some ways, being remote on a large production has probably protected me by having fewer daily interactions and distractions," says Nathan Love's Joe Burrascano.
Toon City's CEO says the productivity plunge is fairly typical for studios in the country, and cites lagging technical infrastructure as a root cause.
Stay small. Keep family close. Don't be an asshole. These are some of the rules that have worked for animation director and studio owner J.J. Sedelmaier.
A look at animators on Instagram.
Sowl's Solomon W. Jagwe explains how he harnesses iClone and Perception Neuron to animate his show.
Mikrofilm is still encouraging staff to work at home, but those who wish to return to work can do so, with plenty of new safety measures in place.
When Sam Kishi wanted to incorporate animated segments into his live-action feature, he didn't have to look far. That's because he also runs the Mexican animation studio Platypus.
The company sees a big opportunity in the current crisis.
In a guest piece, industry executive Aaron Simpson explains how the animation industry had been preparing for this disaster for decades without even knowing it.
With a slowdown in live-action production, the WGA is re-igniting a turf war by trying to cover more writers on animation productions, traditionally the domain of The Animation Guild.
The event itself may be canceled, but Annecy's competitions are running as usual this year.