Toon Boom News Summer 2012

7/30/2019 Toon Boom News Summer 2012

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toonboom.comSummer 2012


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2 Toon Boom Newssummer 2012

Bluffton Elementary School,located in South Carolinas BeaufortCount, deserves special mentionin this regard. The schools visionarPrincipal Christine Brown, along-side dedicated animation teacherCelia Miller, gave their students theopportunit to surpass themselvesand the did. Using the Flip Boom

famil of products, students fromGrades 3 to 5 created animationto demonstrate their understand-ing of the core curriculum. During

the rst ear f ipleentatin, this innvative apprachtranslated into an increase of up to 15% in overall marksthroughout the core curriculum, maintaining a much higherperformance than the state level. There was also an over40% increase in science, 36% in math, 12% in social stud-ies and 26% in writing amongst African-American students.This spectacular achievement was recognized b theDepartment of Education, which granted them the 2012Palmetto Gold Award in the Closing the AchievementGap categor, which recognizes programs that narrow thegap in achievement between historicall lower and higher-achieving student demographic groups. Toon Boom is agreat advocate of the schools methodolog and is proudt cunt Blufftn as a chapin in the eld.

Game CampSWorking in collaboration with Ubisoft in Montreal and

Savannah College of Art and Design in Georgia, ToonBoom is directl involved in a series of animation gamecamps targeted to 12 to 15 ear-old children, offering theman educational adventure in game design using Toon BoomStorboard Pro. Taking place throughout the summer inboth Montreal and Savannah, the camps have received anoverwhelmingl positive response.

On the rOadRecgnized as experts in the eld f aniatin,

members of the Toon Boom team are invited to speakto audiences throughout the world on topics relating togrowing the animation industr, production pipelines andeducation. Recentl, Joan Vogelesang was a guest speak-er at the 2012 Caribbean Investment Forum, sharing herknowledge of how to develop the animation industr in theregion. Joan was also present at the 2012 FMX, present-ing the How to Prepare Children for a Future in Animationand the The Future of 2D Animation sessions. At MIFA,Francisco Del Cueto was part of a panel on How to Opti-mize Production Management. Industr events scheduledfor this summer include: MIFA, Booth 2.005 in Annec,France (June 4-9); International Society for Technologyin Education (ISTE), Booth 5947 in San Diego, CA, USA(June 24-27); Georgia Association for Career and Tech-

Toon Boom Corporate Headquarters+1 514 278 86665530 S. pck, S 2210

mo (Qbc) h4e 1a8 C

toonboom.com

ts sss co cosy of La Fabrique dImages

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Amplif the learningexperience usinganimationThe power of animation is a force to be reckoned with,not only in entertainment, but also in education. Whenempirical data are made available to justify that statement,

one can only tip their hat to the educators who embracetechnology for the betterment of their students.


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3Toon Boom Newssummer 2012

nical Education (GACTE) in Atlanta, GA, USA (Jul 15-18),Virginia Technology and Engineering Educators Asso-ciation Conference (VTEEA), Frederick Count, VA, USA(August 1-3); and SIGGRAPH, Booth 1030 in Los Ange-les, CA, USA (August 7-9). Make it a point to drop b ourbooth to sa hello!

awardSOn the awards front, the Toon Boom team has been

twice honoured recentl for its achievements in the anima-tion industr, as well as for its commitment to its customers.

2011

GLOBAL ANIMATION SOFTWARE

ENTREPRENEURIAL

COMPANY OFTHE YEARAWARD

po c of:

tOOn BOOm Star

This section is dedicated to Toon Boom employees. In each

issue, we will introduce you to the people behind the tech-

nology and put a face to the voice you may have heard on the

other end of the line.Marc-Andr Bouvier-Pelletier joined Toon Boom inMarch 2001, working in qualit assurance for the thensoon-to-be-released Toon Boom Studio version 1. Marc-Andr performed numerous hardware compatibilit teststo ensure this new product would receive the best possi-ble receptin in the eld. As updates and upgrades weremade available, he conducted further tests while garner-ing a great expertise of Toon Boom vector technolog. In2005, Marc-Andr embraced the professional line of prod-ucts, and began plaing a re active rle in the eld. Nwdedicated to that famil of products, he acts as a consul-

tant; assisting customers with installation, pipeline opti-mization and production assistance. With regard to ToonBoom Storboard Pro, Marc-Andr has performed severaluser tests on behalf of corporate accounts and managesfeature requests, prioritizing them and translating theminto new software functions. With the upcoming releaseof Harmon 10, he is currentl hard at work in the testingphase, while helping dene hw new features are iple-mented in the software. He also oversees the beta testingof the new version sent to corporate accounts and writesthe release notes, in which all the great feature additionsand improvements are outlined. On the personal side,Marc-Andr is an avid four season amateur sportsman,practicing indoor climbing, biking, roller derb and snow-boarding. He also enjos renovating his house and land-scaping alngside his signicant ther, Genevive and hersix ear-old son, Vega, with whom the form a harmoniousand happil-blended famil.

Joan Vogelesang, Toon Booms President and CEO, accepting theFrost and Sullivan 2011 Global Animation Software Entrepreneurial ofthe Year Award from Krishna Srinivasan, Global President & ManagingPartner, Frost & Sullivan.

Mr Steven Chu, Toon Booms COO, receiving the DistinguishedPartners Award from Singapores Institute for Technical Education(ITE). Presenting the award is guest of honour, Mr Teo Chee Hean,Singapores Deputy Prime Minister, Coordinating Minister forNational Security and Minister for Home Affairs, on April 3, 2012.Presenting the Award with Mr Teo are Mr Bob Tan, Chairman, ITEand Mr Bruce Poh, CEO, ITE.


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Get Toon Boom Certied!

Toon Boom believes life-long learning is importantfrom academia throughout our professional career. Wesupport students and educators as well as professionals.Whether ou need educational resources, instructor-led,self-paced, or online training, Toon Boom has ou covered.

As the worldwide leader in digital content and anima-tion creation software, Toon Boom Animation is highlrecgnized in the aniatin and the l industries. Bcertifing their marketable skills, individuals can validatetheir technical abilit and denstrate recgnized pr-cienc in digital content and animation. Toon BoomsCerticatin Prgra pens drs t exciting careers and

lets successful candidates stand apart from their peers in ahighl-competitive job market.

Tn B Certicatin is an industr standard fexcellence that provides reliable validation of skills andknowledge. This can lead to accelerated professionaldevelopment, improved productivit, and enhanced cred-ibilit. Its the best wa t cunicate ur prcienc inleading products from Toon Boom.

Check out the 2012 training calendar for upcomingTn B Certicatin classes, all f which will be held inMontreal. Course prices (USD) include a one-ear licensef the related sftware, as well as the certicatin.

Learn re abut Tn Bs certicatin prgrasat tnb.c/educatin/certicatin

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Professional TrainingLeading to Professional/Master Certication

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Conditions: Have a basic knowledgeof, or experience working with, ToonBoom Storboard Pro 3D

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raCinG enGine

Benet fr a pwerful 64-bit engine, driving enhance-ments in speed, performance, and handling of this ground-breaking animation software.

GO FurtherThe new engine powers the abilit to go further than everbefore. Take advantage of all the available memor onur sste; render high denitin prjects and high qual-it images, in 2K, 4K, 8K, and more.

Striking SpeedStriking Speed

BITS6644

Striking Speed with Toon Boom Harmony 10

Toon Boom Harmon 10 delivers features that will require ou to fasten our seat belt!

real-time manOeuvrinGSee the advantages when handling the software directl;with a faster user interface, and faster interactive plaback.See these improvements when working with ver simple,or ver complex, scenes with character rigs and deforma-tion.

turBO-CharGedSee the benets f 64-bit when cpsiting and render-ing special effects. Take advantage of the multi-threadtechnolog and rendering improvements to render faster,and to render more elaborate scenes. See the differencewhen rendering large bitmaps, gradients, and complexbackgrunds. Efcientl render ver sphisticated sceneswith particles, complex effects, and 2D-3D integration.


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Avoiding the Presentation Crashand Burnby Heather Kenyon

How did it all go so terribl? you planned. youorganized. you wore our luck socks. So, how did ousuddenl nd urself sputtering alng, thrwn ff urmojo with the person ou are pitching looking at ou witha questioning, What is this person talking about? And do

the need some sort of medication? tpe of face!?It has happened to us all and it is awful. While I cant sadoing the below will ensure ou wont occasionall havethat bad, bad pitch, it might just help.

Control our pitch materials. This is most important.I like to design m pitch bibles so that the naturalllead me through m pitch. If I am nervous, all Ihave to do is look at the prett pictures and thewill lead me through m pitch. Do not hand thepitch bible to the person ou are pitching as oubegin. The will ip thrugh it, read it, and it willthrow ou off. Plus, once the start looking theare no longer paing attention to ou. you need tocontrol how ou tell our stor. Put our hands onthe bible, keep it close to ou, and turn the pagesfor the person as ou speak. Use our pitch bookas our guide to tell the stor of our show. Thisshould help ou to avoid blanking and getting theorder of information jumbled.

Dont go overboard on the caffeine. People will befocused on our hands and if ou and the personou are pitching suddenl notice that ou areshaking, it can throw ou off. Ive lived this one.

Turn off our cell phone. It will ring, vibrate or chirpat the exact wrong time. It just will. Trust me.

If ou cant do it at home easil pla that clip,sa the joke, etc. it could be trouble in the room.Dont stress ourself out with things that might notwork or require a ver certain snap of the wrist.Simple is better and means less to worr about andhandle.

Get some sleep. Practicing until 4 am isnt going to

help. In fact, canned pitches are duds. you wantspontaneit. Do ou know our characters? Doou know our stories? Good. Go to bed.

And nall, abe the persn u are pitching t isjust REALLy listening and thats the face the make!I was once pitching to a lad who was makingsuch an awful face I almost asked her if I shouldcontinue. But when I wrapped up, she broke into ahuge smile and said, I like it.

So there ou go! you never know. When in doubt, justkeep smiling and keep pitching.

Heather Kenyon is currently working with KidGlove Creative, a new division of B. WoodingMedia. For ve years, she worked at CartoonNetwork, as Senior Director of Development,Original Series, leading the development ofall series for children aged 6 11. She is alsocurrently Vice President of Production andDevelopment for Citizen Skull Productions, apredominately unscripted and documentaryproducer.


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Better Brush in Toon BoomStoryboard Proby Mark Simon

The biggest complaint I hear from artists when thestart to draw in a vector-based program is that the dontlike the line qualit f vectr lines. Never fear! Its quickand eas to set up a texture brush in Storboard Pro 2.0that will let ou draw like Michelangelo with a line ou will

love.The rst thing u need t dis open Photoshop and make ale that is 75 pixels b 75 pixels.Fill it with black and save it as aPSD le. I was incredibl creativewith le nae and called itMarks Brush. Oooh. [Figure 01]

Next, pen Strbard Pr.

Select our Brushtool, and click on theTool Properties tab.[Figure 02]

on the Tl Prperties tab, click n the NewBrush icon.

Below, select the TextureBrush option and then clickon the button under the wordTexture. [Figure 03]

When the Load Texture File window opens, simplselect the PSD le u ade earlier and click open.

Nae ur brushand set the parametersas ou want. you canadjust these parametersjust like an brush, asoften as ou like. The

settings shown hereare m basic settingsfor working on a HDstrbard le. yu canset the minimum (2.8pixels on mine) and maximum (33 pixels on m sample)brush size to control our pressure sensitive Wacom pen.[Figure 04]

Nw, u are free t draw with a sth, pencil-likeline that will make an artist happ.

Go forth and board!

Mark Simon is a 25-year entertainmentindustry veteran amassing nearly 3,000production credits. He is head of story onthe upcoming Hong Kong Phooey feature forWarner Bros and animation producer on FoxsTooth Fairy 2. Mark has landed more than 25deals for his original concepts. He is owner ofthree industry companies in Orlando, FL andthe author of ten popular industry texts. Healso lectures around the world.


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Co-Writing More Sparks,Better Balanceby Donna Lisa

Writers and songwriters create their own unique worlds.This process requires hours of focused thinking, which can begratifing, but lonel. While working in solitude, man writ-ers bece distracted and have truble nishing prjects.Those who choose to co-write avoid these pitfalls. The

have compan while the create, and the rarel lose focus.As a writer/songwriter who has co-written man projects,I strongl favour this approach. The process of co-writingcan be ver motivating. Writers who work with partnersdont encounter writers block. It can be exhilarating tobrainstorm and develop ideas together. Meeting a dead-line can be easier with a writing partner to spur ou on.

I have found that carefull chosen writing partners canoffset m weaknesses and enhance m strengths. For oneof m writing assignments, I selected Monique Gramb,a ver funn writer. I had been hired to write for a chil-drens ced/adventure series. I felt cndent that Icould create exciting adventure stories, but I brought inMonique to help me make the series funnier. Our collabo-ration worked. The producer loved our bible. Throughworking with Monique, I learned to think in a more outof the box, funn wa and she learned more about thepacing of episodes for children. We became good friends,anther benet that c-writing can prvide.

Writing sngs with a writing partner has a natural wfor me. In script and bible writing, the division of labour isnt well dened. Bth writers wrk n all aspects f theproject. In songwriting, the creative tasks can be easildivided.

In m case, I picked Ted Brancato, a ver talented, clas-

sicall-trained musician, as m co-writer. Simple, catchmelodies and fun lrics came easil to me, but I didnt havethe musicianship to write the more unusual, exotic melodiesthat Ted created. Through working with him, I learned toexpand m lric writing. I created unusual rhme patternst t Teds innvative eldies. Ted learned t keep thesongs catch and accessible. He also brought his arrang-ing talents to the studio when we recorded our songs. Thiswas a huge benet fr the usic and fr e.

Although m experience with co-writing has beenver positive, it hasnt alwas been eas. There werebumps along the wa. For me, co-writing has meant shar-ing a creative vision and compromising ideas. Sometimesthis process has involved a bit of friction. Monique and Iclashed about some of our stor ideas. We decided that achange f pace was needed. We went t a NyC restaurant,ate sushi, drank Saki, and hashed out our differences. Ourcollaboration quickl got back on track.

If ou havent tried co-writing, I recommend that oudo. Even if ou see ourself as a strictl solo writer, trworking with a partner just once. After that, ou ma wantto make co-writing a consistent part of our career.

Donna Lisas scripts and songs have beenhonoured by iParenting, NAPPA, ChildrensMusic Web Awards and other media organiza-tions. Her screenplay, Kheng Kheng Crocodile,is under option with Flat Rock Pictures. Herseries, Bat Cat and Bitsy, is being promoted byEngine 15 Media. Donnas CD, Toucan You Can,received twenty international awards. She isA&R Coordinator for Playful Journeys, a 2012CD release.


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Protect Your Characters, YourArt and Your Brand!by Deborah Gonzalez, Esq.

What do a panda, a mouse, and a bird have in common?Would it help if I rephrased it as Kung Fu Panda, Mickemuse and the Ikran ing creature fr Avatar? Whatthese iconic characters share is the claim that the werestolen or in legal terms had their coprights violated.

Copright is a form of protection grounded in the U.S.Constitution and granted b law for original works ofauthrship xed in a tangible ediu f expressin (USCpright ofce). It actuall cnsists f a bundle f rightsto the author of the work to control the reproduction,distribution, displa, and ultimate use of the work created.

Some ke points: It has t be in a xed, tangible ediu. Thughts

and ideas are not protected, their expression is. Who the author is can sometimes be the point of

legal contention work for hire, emploee vs. inde-pendent contractor, commissioned works eachof these adds a new dimension of complexit if acontract that spells out the exact relationship isntexplicit, or doesnt even exist.

Animation projects need to consider as well, thecoprights of music that the ma be using to givemood and tone to the piece. Music has a series ofcoprights; mechanical for the lrics and compo-sition, performance for the sound recording andsnch licenses to snchronize the audio and visualin the project.

What can ou do if ou feel our coprights of ourcharacters and our art have been violated?

Document the incident research for all the factsand data

you need to determine if in fact it was infringe-ment, or did ou give consent for its use, or is therea fair use justicatin?

Make sure our copright is registered

Consult an attorne understand our rights andoptions Send a Cease and Desist Letter If the item is online, send a DMCA Take Down

Ntice Weigh the pros and cons of pursuing litigation/

arbitration

Character theft is a personal crime, not just a prop-ert crime. It takes awa some of the essence of ou asan artist our creative process, our creative decisions,our creative efforts. It isnt legal, but more importantlit isnt right. We need to talk about this issue, spread theword when something comes up, be part of the discus-sion. Dont let them steal the most important asset ouhave our talent.

Deborah Gonzalez, Esq. is an attorney focus-ing on intellectual property in the art, music,and entertainment industries. She especiallyenjoys her animation clients and their projects.Deborah speaks at various conferences andfestivals to help educate artists about theirrights. To learn more about her practice andfor more resources for artist, check out herwebsite at www.dgonzalzesq.com.


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Located in the heart of Luxembourg, Fabrique dImages was founded in 2002 by Christine Parisse andJean-MarieMusique. Over the years, the two have been called upon by prestigious animation studios to contribute their eld-proven expertise to everything from the scripting stage to nal compositing.

Concurrentl, the team develops in-house projectsalongside Art Director Bruno Murer, who infuses eachproduction with his creative vision. The in-house anima-tin studi ies underThe Picture Factory banner, whileFabrique dImages has evolved into the production arm,one that is well-equipped to develop its own projectswhile offering its services to out-of-house 2D and 3Dproductions.

Some of their most recent projects include Pinocchio(90 as a service provider to Cometa Film, Iris Productions,Walking the Dog, and 2D3D Animation), Golden Horse(90 as a service provider to Rija Films, Vilanima, PaulThiltges Distribution), Le Petit Avale-Lumire (1 x 10, asa producer), Night Light Monster (1 x 6, as a producer),Percys Tiger Tales (52 x 13, as a producer, along withSkline and Planet Ne) as well as Zoli & Pokey(26 x 13,as a producer, along with 2 Minutes, Cromosoma, Gulliand TV3).

Created b Bruno Murer, the Zoli & Pokeyseries is ahome-grown project that has gone through several incar-nations over the ears. Finall, Fabrique dImages part-

nered with Paris-based 2 Minutes t ne-tune Zoli &Pokeys aesthetic t achieve a pitch-perfect nal result.The cbinatin f ash visuals and riginal strlinepiqued the interest of Barcelona-based studio Cromo-soma, which has since joined the production team. ThisEuropean threesome has embarked upon the production

FULL STEAm FoR PRoDUCTIoNS WITHINTHE TooN Boom PIPELINE


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11Toon Boom Newssummer 2012 11

of the program using the Toon Boom pipeline to bothcreate animation magic and unite their talented animationteams.

At Fabrique dImages,the production team isheaded b Christine Parisseand Jean-Marie Musique,as Producers; Bruno Murer,as Graphic Designer; SeanMcCormack as Director;and Eric Berthier as ArtDirector. The total staffdedicated to Zoli & Pokeynumbers over 30 people.Currentl, the team is inpre-production mode.There are four storboardartists, including one lead; four

designers, including one lead;three laout artists, includingone lead; three compositors,including one lead, as well as onelead special effects artist. Themain pack, which includes all themodels, backgrounds, props andrigs, was completed during pre-production. This pack is shared withCromosoma and 2 Minutes to ensureconsistenc amongst the three studios. The animationproduction is set to start in Jul 2012 at Fabrique dImages.

Knowing each studio has to deliver two episodes per weekon schedule, their team will include one lead animator and10 animators. The series will be read for deliver b earl2013.

In addition to its great look, Zoli & Pokey deliversloads of fun and laughter to a famil audience. Indeed,what would ou do if our dog was...our Dad?! Well,thats exactl what happens to mild-mannered 11 ear-oldZoli when his estranged, world-renowned scientist father,Michael Parrot, accidentall transforms himself into an

ordinar dog. The audience follows their weird and fantas-ticall funn adventures as Zoli and Poke attempt to undoa scientic experient gne hawire, battle thrugh rst

loves and vet visits, all while avoidingbullies and imposters. Zoli& Pokey is an animatedsitc with a sci- twist,lots of fantas and loads ofheart.

Having worked withinthe Toon Boom pipelinefor several ears, FabriquedImages found it onl natu-ral to maximize its multipleadvantages throughout theproduction. Zoli & Pokey isa mix of cut-out animationand traditional frame-b-

frame drawing. The studiouses both Toon Boom Stor-board Pro and Harmon.Laurent Paqueteau, StudioManager, explains thehbrid production work-w; After the script hasbeen validated, we move

right into Storboard Pro to start ourroughs. Since Storboard Pro is so easil adaptable to

whatever changes ight be needed, we nd it is the bestwa to keep the rough loose, but not to lose track of the

scene, or shot numbering. Then of course, we move on tonalize the bard and after the validatin, we start wrkingon the animatic, which is made in Storboard Pro as well.

Meanwhile, we build our characters. After the designs,turn-arounds and various poses have been validated, wethen get into Harmon and start rigging them. This is oneof the most important steps in production, because anbug that we ma leave in the rigs will seriousl hamper ourproduction schedule. Once the rigs have been thoroughltested and validated, we then move on to our laouts.


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Then we exprt the nal aniatic fr StrbardPr, which creates all the Harn les autaticall.Keeping all the caera ves, sund les and settingsthat had previusl been dened during the laut phaseof production becomes ver straightforward. We thenimport all the backgrounds, props and characters and startsimple posing to guide the animators timing.

Once this step is done, we can then move on to anima-tion. With the simple character designs and the man

different possibilities in Harmon, the animation phase hasbecome much more time-saving and productive.After the aniatin ces the nal phase in which we

use Harmon: the compositing. Here, we add the shadowlaers, effects, light sources and other important passesthat bring tgether the nal iage f ur shw. It is verconvenient to access such a powerful compositing enginewithin the animation production tool. In case of revisionsor corrections at the end of the process, we can do them inreal-tie. N need t g thrugh tie-cnsuing cnver-sions between applications!

The nal tuches fZoli & Pokeyare then added in theediting room and the sound department.

Fabrique dImages is a master at the Toon Boom pipe-line, while understanding how best to take advantage ofthe tangible benets it brings t the studi. The recentladded Toon Boom Storboard Pro 3D to their line-up inorder to work on Percys Tiger Tales, a fun and educational3D series targeted to 4 to 6 ear-old children. Also, theirgoal is to produce Season II ofZoli & Pokey, envisioning

wonderful new adventures, but also great potential forreuse of assets!


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Founded in 2003 in So Paulo and Rio de Janeiro, Mixer is a production house for commercials, features and television

content. In addition to offering full production in all formats via a team of award-winning directors and producers,Mixer provides lm services to some of the worlds leading production companies, among them Partizan, Stink, GoFilm, Bandits, Blink, Radical Media and many others.

Mixer is the most highl-awarded production companin Brazil, while ranking second in the world. In the adver-tising industr alone, Mixer is the winner of 47 CannesFestival Lions, in addition to numerous awards garnered atprinent festivals held in New yrk, Tk and Lndn.

Over the past nine ears, Mixer has distinguished itselfb its prductins fr advertising, televisin and l.Among them are the television series Julie e os Fantas-mas (bradcast b Band and Nickelden), judged Best

Series for Children and youth b APCA; Mothern (broad-cast b GNT), as well as Descolados(broadcast b MTVand Band). Mixer also produced the Discover Chanelsdocumentar series O Assassinato de Jean Charles andSo Paulo Sob Ataque. Also, among Mixers credits arethe ls Besouro (miravista, Glbles, Teleiage) andCoraes Sujos(Dwntwn/Glbles).

In 2009, mixer ebarked upn their rst aniatinproject using the Toon Boom pipeline, namel Toon BoomStorboard Pro and Harmon. Titled Doggy Day School,this project was done in co-production with Canadas Cit-

Amrique, resulting in the rst aniatin c-prductin

between Brazil and Canada. Targeted towards 3 to 6 ear-olds, the series spanned two seasons, resulting in a total of52, eleven-minute episodes. In Brazil, Doggy Day Schoolpreiered n Nickelden Latin Aerica, TV Cultura andTV Brazil. It also aired on four Canadian networks, namelTVo, Radi-Canada, APTN and Knwledge Netwrk.

The Doggy Day Schoolseries was created b CathyMoss and developed b a team of producers headed bTiago Mello and Greg Dummett. The original design iscredited to Didier Loubat and Carole Roy. With an aver-age production timeframe of 16 months per season, therewere more than 60 people involved in the production,including writers, members of the artistic and animationdepartments, voice talent, storboarders, musicians andsound effects crew, as well production and post-produc-tion staff.

With a script written b a team of Canadians underCath Moss direction, the series encourages an outlookin which diversit not just enriches our lives, but is some-thing to celebrate. The production also sprung fromBrazilian soil. Dubbed into English, French, Spanish and

VENTURING INTo ANImATIoN USING HARmoNy


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Portuguese, the series comes with a musical score b theBrazilian Group Palavra Cantada, featuring Sandra Peresand Paulo Tatit.

As illustrated in the diagram, the production was even-

l split between Canada and Brazil. Both Mixer and Cit-Arique axiized the benets f wrking in a cpletedigital wrkw t deliver the prductin n tie and nbudget. Each team depended on the others deliveries, soit was critical to maintain a consistent production sched-ule and w. Fr exaple, the Strbard Departentdepended n the writers, wh sent the nal scripts. Andthe Art Department relied on the Storboard Departmentfr the nal bards, aniatics and s n. It then fell tthe Art Department to create the character design, thenal backgrunds and the prps that the Rigging, ScenePlanning and Animation teams needed to start theanimation process.

In order to produce both seasons, the following teamswere put into place between Brazil and Canada:

Script / Canada - a team of nine writers working

with Cath Moss Original Voices Recording / Canada the fourmain voices, plus those of all the supportingcharacters

Storyboard and Animatic / Brazil a team ofve strbard artists

Art Department / Canada a team of sevendesigners, headed b Carole Ro

Rigging, Scene Planning & Animation / Brazil a team of 24 animators

Post-Production / Brazil a team of nine people,consisting of editors, post-productionproducers and graphic designers Original Music / Brazil a tea f vemusicians Editing, Foley, Sound Fx & Audiomix /Canada a team headed b Serge Hamel atStudio Digilog

SCRIPT

CANADA

STORYBOARD

&ANIMATIC

BRAZIL

RIGGING&

SCENE

PLANNING

BRAZIL

ANIMATION

BRAZILPOST

PRODUCTION

BRAZIL

MUSIC

BRAZIL

EDITING,FOLEY

&

SOUNDFX

CANADA

AUDIOMIX

CANADA

ORIGINALVOICES

RECORDING

CANADA

EPISODICDESIG

N

CANADA

MASTER

BRAZIL


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Using Toon Boom Storboard Pro in both Brazil andCanada sped up the approval process. Revisions wereexecuted faster, which enabled storboarders to generatere rened aniatics fr the aniatin tea, explained

Tiago Mello. Thanks to the seamless integration betweenStorboard Pro and Harmon, the could rel on accurateinformation to create better qualit animation. As theseries was developed in cut-out animation stle, we havebuilt an impressive librar of assets for reuse within eachseasn and fr the rst seasn t the secnd. Finall,the abilit to monitor the progress of the productionefcientl was anther ke benet f using Har-n, concluded Tiago Mello.

As Head of Animation, Marcelo Mouraadded the following about his experiencewith Harmon: The abilit to import theanimatics, combined with the seamlessimport of the model pack elements,enabled us to quickl build the scenesetup and feed the animators. Thebuilt the librar assets per character,dividing them b parts; animationccles such as runs and actions, as wellas attitudes. This librar structure facili-tated the reuse throughout the produc-tion. As the animators were creating newassets as needed, the librar was verdnamic. We had two teams of four anima-tors. We estimate that in the second season,

we reused 65% to 70% of the assets, which enabled usto deliver the project much faster. During Season I, theaniatin tea created 11 inutes f nal aniatin intwo weeks. During Season II, the were able to complete

an episode in six das onl. This was a huge saving!Marcelo Moura explained that for Season II, the anima-tion team used a more recent version of Harmon, whichled them to perform new rigs for the ke characters. Therigging process was fast, so it was worth doing it in order

to raise even higher, the qualit of the animation, headded.

As such a charming propert offers greatmerchandising potential, Mixer has signedseveral deals with suppliers specializing inbooks, DVDs, games, tos, part supplies,

school supplies and linens, coveringLatin America. In addition, Mixer isworking on a theatrical pla slated topen in Brazil in Nveber, 2012.

Based n their rst successfulanimation venture, Mixer decided toembark on a new animation project,titled Stio do Picapau Amarelo, a

co-production between Mixer andGlobo. This eleven-minute, 26- episode series is et another

great opportunit to set the ToonBoom pipeline in motion while showcas-

ing Mixers talent and creativit.

w s scosso, s 65% o 70% of sss, c b s o ojc c fs.


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Founded in Paris in 1995, TouTenKartoon (TTK) opened its Montreal branch in 1998, followed by another in Angoulmein 2000, then Lige in 2011. Crisscrossing the Atlantic between France and Canada,Jean-Louis Rizet, President of TTK,boasts an impressive track record of projects targeted for television and lm, including My Life Me, Life on the Blockand most recently, The Suicide Shop.

TTK offers clients a complete range of services in digitalanimation, from executive production to post-production,including 2D/3D animation, ink and paint and composit-ing. In addition, TTK is part of the Toon Alliance, whichalso includes Caribara Animation, ETS, Mac Guff, Ramses 2and Waoo. Each studio brings with it a wealth of expertiseto offer a complete turnke solution for animation produc-tion.

Jean-Louis Rizet and his team are true advocates of theToon Boom pipeline. This is wh the chose to produceThe Suicide Shop, an eight-minute animated featurel, cpletel paperless using Tn B StrbardPro and Harmon. The Suicide Shop is als ne f the rstfeature ls t cbine traditinal with cut-ut aniatin,the latter amounting to nearl 70% of the animation. Theresult is simpl superb.

With production houses Diabolo Film in France andCaramel in Canada, this co-production brings togethera highl talented group of individuals: Gilles Podesta,Producer, France; Andr Rouleau, Producer, Canada;

Patrice Leconte, Director, France; Laurent Donnay, StudioManager, TTK Canada; David Pelkey, Lead Animator, TTKCanada; Maxime Vallires, Lead Animator, TTK Canada;Stphane Pogran, Studio Manager, TTK Angoulme;Pascal Herbreteau, Lead Animator, TTK Angoulme. Theteam at Caribara, headed b Fabien Baboz, oversaw thestorboard, art direction and model pack creation.

A VERy HAPPy ENDING FoR BLACK ComEDyCREATED IN HARmoNy


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Based on the dark comedic novel b Jean Teul,which sold over one million copies in his native France,The Suicide Shop is targeted to a thirteen ear-old andup audience. A tale about death and happiness, the storis set in a cit in which ever resident is depressed, whenone da a happ and hopeful child is born into a familthat runs a shop specializing in suicide equipment. Whilethe novel ends on a bad note, the opposite is true for thefeature l, thanks t acclaied directr Patrice Lecnte.This is an ode to life, and animation is the right medium tobring this novel to the big screen, sas Leconte.

As The Suicide Shop is a musical, Patrice Lecontesought actors who could sing as well as act, so that therewould be no disruption between the dialogue and thesongs. In addition, the 80-musician-strong Brussels Phil-harmonic Orchestra was hired to perform the music.

Spanning overa three-ear peri-

od, the animationproduction took 18months to complete.The Montreal teamincluded two groupsf ten aniatrs, velaout artists andthree riggers, whilein Angoulme, sevenanimators and twolaout artists werehard at wrk. The l

includes 2,000 shots,27 sequences and1,800 backgroundswith up to 200 laerseach.

The abilit to import the animatic into Harmon,as well as recover the timing and camera information isextreel efcient, said David Pelke. The sth inte-gration between Storboard Pro and Harmon enabledus to create the scenes automaticall, which was not onla major time saver, but also eliminated timing errors thatcould occur when this process was done manuall, heexplained.

Upon receiving the animatics, the team analzed howeach character needed to be built, how man props need-ed to be created, what actions characters would performthroughout the movie, and how man levels were requiredso that the would be cut accordingl. Characters werecoloured with gradients and textures, which made theanimation process even more challenging.

With such a high premium placed on creating a rich-lking nal prduct, Jean-Luis Rizet explained hwvaluable it was to work closel with Toon Boom duringthe production process. The Research and Developmenttea cllabrated with ur aniatrs t develp specic

features related to the textures and gradients. This closecollaboration enabled us to streamline the productionprocess further and create even more impressive qualitanimation, added Jean-Louis.

We reall pushed the qualit of cut-out animation tomake it look like traditional, added David Pelke. In orderto facilitate the process, the animators took the time to setthe proper number of laers to optimize the characters.Our rigs were quite complex, but the result speaks foritself. With the new Harn Netwrk Tree, we anagedto have less laers displaed, which visuall made it easierto manipulate the parts, he continued.

The Librar plaed a critical rle in this feature lproduction. It was structured b main characters, second-ar characters, occasional characters, as well as props andbackgrounds. Each categor was further broken down into

sequences, then scenes. We builtextensive templates for the char-

acters mouth in order to have theproper shape for lip-snc. We alsocreated action templates for themouth, showing a happ, neutral,

or sad expres-sion. This provedto be ver usefulduring the soundscrubbing, statedDavid.

In addition tothe Central Librar,

each animatorcould create apersonal librar to reuse the necessar assets wheneverneeded. The also shared these new assets with the rest ofthe team when it could be useful.

As far as colouring went, we set master palettes perscene because of the costume changes between eachscene. The camera was eas to use. As a former Flashanimator, it was powerful to have a smooth and automaticcamera capabilit such as Harmons, enthused DavidPelke. We could not have produced such a high qualitanimation with an other solution.

Rendered in 2K and with a theatrical release date setfor September 26, 2012 in France, The Suicide Shop isundoubtedl a must-see movie, not onl because of thegreat stor matter, but also for its sublime artistic accom-plishments. The good news is that Patrice Leconte isalread develping anther feature l prject titledMusic!, to be created in Harmon and certain to be anoth-er masterpiece. As for TTK, the team is proactivel posi-tining itself fr several feature ls and televisin seriesprojects. Going beond a service provider role, TTK is nodoubt a partner to consider when it comes to creatingqualit aniatin efcientl.


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Passion Chooses Harmony forKinder Commercial

Passion is a multiple Oscar-winning independentprductin cpan with fces and aniatin studisin Lndn, Paris, New yrk and melburne. The createever form of animation and live action imaginable acrossan unlimited range of media. Passion was founded b CEO

Andrew Ruhemann.Between its various brands, including Passion Pictures,

Passion Raw, Strange Beast and Passion Planet, the compa-n represents over 60 exciting directors, from establishednames to emerging talent. Together, this team createsan enormous variet of work, ranging from commercials,digital ls, shrts, dcuentar features, usic vides,cputer gaes, websites, wildlife ls and live events.

Passion is renowned throughout the world of animationfor its ground breaking Gorillazmusic videos, the product

of a ten-ear collaboration between the bands foundersJamie Hewlett and Damon Albarn, and Passion directorPete Candeland, resulting in a multitude of award-winningls and live cncerts. The are als enrusl prud fThe Lost Thing, a shrt l directed b Andrew Ruheannand Shaun Tan, which won the Academ Award for ShortFilm Animation in 2011.

Passion Pictures directorRussell Brooke has directeda new, 30 second animated commercial forKinder Choc-olate, the popular childrens treat. The commercial wasdevised and scripted b Nick Hastings and Jn Gledstneat Krow Communications. The spot features a bo and his

mother, and was designed b the award-winning artist,author and illustratorOliver Jeffers. Jeffers design usesa lined background resembling graph paper, above whichhand-drawn characters and text explaining the charactersthoughts appear.

Kinder Chocolates Invention was the rst prject thatPassion has used Toon Boom Harmon on. Wed beenconsidering new 2D software for some time, and after atrial of both Toon Boom Harmon and its competitors,we decided that Tn B was the best t fr Passin,states Ti King. Its a wnderfull exible prductintl that ts Passins stle and wrkw adirabl. Westill use hand-drawn artwork on paper, so the qualit ofscanned imager, and Toon Booms abilit to transformthat into editable vector-based imager that maintains thefeel of the original artwork was ver important to us. Kind-er Chocolates Invention is a good example of where weneeded to maintain the stle of Oliver Jeffers characterdesigns as closel as possible, while also working to a vertight schedule. With such a short time frame, Toon Boomslinked, global palettes allowed us to make rapid changesto the detailed look of the characters across scenes withinminutes, explains Tim.

Passins wrkw can invlve an different frsof media, and we often mix 2D, live-action and CG. The

nal cpsiting is dne in ther packages such as Nukeand Adobe After Effects, and the compositors need manseparate renders of individual elements to achieve thenal lk. This is where Tn B reall excelled with itsnode-based output structure, allowing parallel renderingof image sequences from one scene simultaneousl. Previ-ousl, we would have made a separate X-sheet/scene foreach element, and would have had to render each on inturn. The amount of time saved in not having to do thatallwed re tie t be spent n the nal cpsite,concludes Tim.


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Working for fourteen ears as a professional illustrator,Steve Harpster has illustrated over one hundred booksfor kids. He recentl started a publishing compan called

Harptoons and launched a new website with content forkids. Using Toon Boom Storboard and Animate, Stevecreates animations aimed at promoting his new books;Drawing Monsters With Letters, Drawing Sea AnimalsWith Numbers and Drawing Really Cute Baby AnimalsWith Lowercase Letters. I create videos that teach kidshow to draw, and also I tr to inspire them to want tocreate and draw on their own. M hope is that the makethe connection that a simple little drawing can becomean animated short, states Steve. I owned Toon BoomAniate rst and was creating shrt aniatins fr a while,but I was alwas going back and changing things...I would

add a scene, or change the dialogue. Sometimes I onlhad a rough idea in m head regarding what the moviewas about and as I was creating it, I would come up withnew ideas. Once I bought Toon Boom Storboard, I wasnailing down m stor ideas and planning the shots andscenes so much that I was getting most things right onthe rst tr. The tie I saved with Strbard allwed eto spend more time on the animation, concludes Steve.

www.harptoons.com

Bryce Hallett has been an independent animator since1999. He is a graduate of the Graphic CommunicationsPrgra at Canadre Cllege in Nrth Ba, ontari andthe Classical Animation Program at Sheridan College in

oakville, ontari. He has als studied l and televi-sion production at Humber College in Toronto, as wellas acting, writing, and improv at various institutions suchas the Second Cit Toronto, Theatresports Toronto, TheGatewa Theatre Guild, the Universit of Toronto and thePoor Alex Theatre. Using Toon Boom Animate Pro, Brcetpicall creates traditional hand-drawn animation. Itswhat Im known for and its what I enjo most. Although,I also use a lot of cut-out tpe animation and libraries forcertain projects. This one, Hunger Count 2011, is prettmuch all hand-drawn in Animate Pro, with some photosof paper bags imported for the backgrounds, explainsBrce. Its much, much faster for me to animate directlin Animate Pro with a Cintiq and see m animation roughsmoving immediatel. Also, the abilit to clean up andclur in an efcient anner, and t be able t send theseles t anther friend nline, wh a als be wrking nthe project, is reall helpful, enthuses Brce.

www.frogfeetproductions.com

Born in Mexico Cit, Hctor Bayona has been workingin design, illustration and animation for over 10 ears.Right now, he offers his services to clients such as LOraland Avon, among others. His work has been exhibited bdifferent art institutions and right now, Hctor is seek-ing opportunities to produce innovative, creative and funanimation. There are man things that Im able to do withAnimate Pro. For hand-drawn animation, or tweening, itworks reall well. I can choose to use peg laers and makecool camera movements, options that were missing forme in other softwareAnimation is more about techniqueand planning. But if ou want to make our life easier andproduce faster without compromising qualit, Toon Boomis the wa to go, explains Hector.

www.hectorbaona.com
http://www.harptoons.com/http://www.frogfeetproductions.com/http://www.frogfeetproductions.com/http://www.harptoons.com/


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A Success Story ofDetermination and Talent

Coming up with an originalconcept that is fresh and enter-taining is extremel challengingin this business, sas Erick Tran.However, with the advancementof digital technolog, contentcreators have the power to reachcreative goals much more quickl.M mission is to use m skills tocreate shows that have a posi-tive message and celebrate the

diversit of cultures from around the world, and with ToonBoom software I can achieve that goal.

Erick Trans concept would consume his heart, soul andmind for almost three ears; he wanted to bring a message

of hope to others and celebrate the spirit of achieving theAmerican Dream. With an Emm award-winning team ofartists and producers b his side, the vision became a real-it, and Urban Reggie was born.

Urban Reggie is a webisode series about two brothers,Reggie and Pepe, who are determined to do whatever ittakes t fulll their drea f aking their ark in shwbusiness. Reggie is the overzealous brother, while Pepe isjust along for the ride except for when it comes to beingReggies biggest supporter. The comed revolves aroundtheir journe of starting from the ground up in an unfamil-iar societ, jumping from job to job - just barel making

it - t nd that ne glden pprtunit that will nall getthem in the door.Fr re than fteen ears, Tran has been a lead artist

forThe Simpsons. His responsibilities have included serv-ing as animator, stor artist, assistant director, merchan-dising and product designer, video game consultant, andsupervisor on the The Simpsons Movie. He also createddesigns for The Simpsons ride at Universal Studios inHollwood and Orlando, Florida. Additionall, he hasproduced work for Superbowl Coke commercials and thecercial fr the 2010 Nike Wrld Cup.

While we were producing The Simpsons Movie, wehad to come up with a digital pipeline to create our storreels. We had rewrites on a dail basis, so we did thebest with what we had at the time to meet our deadlines.But once we were introduced to Toon Boom products, itchanged everthing! The studio went through a digitaltransformation, which makes production smoother andfaster.

Tran is the son of immigrant parents; his mother fromGuatemala, and his father a Vietnamese refugee. His lifewas never eas, but his famil believed that with hard workthe would be able to build a better future. He loved art asa child, and b the time he was a teenager, animation hadbecome his greatest fascination.

Tran recalls a high school substitute teacher who saidsomething that gave him the direction he needed; Alwasgo with our talents. If ou do, ou will alwas be better atwhat ou do than the people around ou. He took thatadvice t heart and chse t nd a wa t ake it happen.

Through a string of events during his senior ear inhigh school, at the oung age of 17, Tran was able to get asummer job as a character laout artist. That job evolvedinto a length career with The Simpsonsthat has changedhis life. The funn thing is, once I knew I wanted to getinto the animation industr, I applied at Cal Arts and ArtCenter, two of the most prestigious art schools near LosAngeles. I was rejected b both of them, because the saidm portfolio wasnt strong enough. When I applied at FilmRoman, the asked how long it took me to create m port-folio. The were impressed at how I was able to producem portfolio in such a short amount of time with no train-ing. The hired me because the saw potential in me.

Tran wants to share his stor of hope with kids aroundthe world and demonstrate that no matter who ou are orwhere ou come from, anthing is possible. Urban Reggieis his vehicle to reach the next generation of kids. WhenI wanted to experiment with animation back in m da, wedidnt have anthing like what Toon Boom has to offer now.I think its great that the have created a whole line-up ofanimation software for all age groups. Animation is such amagical medium and I am excited to be part of somethingbig like the Simpsons. Im now appling all m skills andeffort to launch Urban Reggie to the web, so keep an eeout cause its coming!

Urban Reggie is currentl produced b Ideal MediaEntertainment, LLC, which was founded b Erick Tranin 2004. The use Storboard Pro and Animate Pro toproduce their animation line-up.

www.urbanreggie.comwww.imestudios.comwww.ericktranart.blogspot.com
http://www.urbanreggie.com/http://www.imestudios.com/http://www.ericktranart.blogspot.com/http://www.ericktranart.blogspot.com/http://www.imestudios.com/http://www.urbanreggie.com/


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Celebrating Autism Awareness using Animation

In Februar, RethinkingAutism.coms Dana

Commandatore approached Dani Bowman aboutcreating an animation of her life stor in celebrationof Autism Awareness month in April. The PSA wasto showcase the positive aspects of autism and the

special skills of people with autism.Dani and Dana quickl came up

with a script and Dani decided toinvolve three others with autism onthe project, as well: twent-two earld New yrk artist Justin Canha frstorboards, character design, andanimation assistance; twelve ear

ld New yrk singer and usician Talina Tscan fr

the sound track; and LA-based actress Tamm Klein forvoiceover production and tagline voiceover.

The PSA quickl came together and Justins fami-l ew t Ls Angeles during Danis Spring Breakto complete the PSA, which was premiered at theDeutsch Ad Agenc LA on April 20th, at the GoldenGood Awards (like an Oscar for social good), duringa special Good Awards Ceremon that took place onFrida, April 20, 2012.

Find Rethinking Autism PSA by Dani Bowman onToon Booms youtube channel at:http://www.outube.com/user/ToonBoomAnimation

Located in a cit known for its popular theme parks, sportsteams, and sunn weather, South Junior High School is

one of Anaheim, Californias hidden gems. Accommo-dating approximatel 1,500 students, South is home tothe Eagles. Of this diverse population, thirt talentedand enthusiastic oung animators participate in a DigitalAnimation course offered at the school, using Flip BoomAll-Star. Digital Animation is a class for an student, withor without an art background. In this course, the studentsare learning the principles of animation, while extendingtheir knowledge of the core concepts, sas Carol Shaw,Digital Animation teacher. The students combine theirskills in art with their individual creativit to develop cross-curricular theed aniated shrt ls. Fr aniated

Haiku poems, to morphing various shapes into otherobjects, to making characters talk and move, the studentshave grasped animation basics through this eas-to-useprogram. Alex Palomino, an 8th grade student states,The Flip Boom program is a lot easier to use than Ithought. This program and class is fun! I feel challengedand Ive learned that I am more creative than I thought!

Based in Hderabad, India, EVASCA has introduced avisual arts and animation program to their curriculum.This program is integrated into their regular sllabi, fromGrades 1 through 10, with each grade receiving oneperiod per da of instruction. When we introduced thisprogram, a few pupils parents had queries and fearsabout it, thinking that their kids regular studies would

be disturbed and that the ma get carried awa withthis. However, their doubts quickl vanished. To date,we observed that the knowledge retention ratio in chil-dren has increased to a great extent and the course hashelped them in their academics. Above all, the under-stood the activit that the performed, just because thedid it themselves. So we feel the program at EVASCA,in association with Toon Boom, will be of great help tothe student bod, explains Durgaprasad Varma, CEOof EVASCA. School facult reported that students wereexcited to be familiarizing themselves with the software, aswell as the creative process of animating. The pedagogi-

cal materials for all programs, ranging from Flip Boom toToon Boom Studio, were given to each student, enablingthem to learn the basics of each software. EVASCAsteachers and adinistratin rst discuss ptential crsscurricular topics, while the students research and gatherthe required information, prepare the storboard andnall, use the Tn B sftware t prduce the nalproduct, adds Durgaprasad Varma.


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GRoWING TALENT FoR THE mARKETPLACEWoodbury University is located in Burbank,

California, in the heart of the entertainment industr.Nearb studis include Disne, DreaWrks, WarnerBrs., Cartn Netwrk, Nickelden, and Fil Ran.Founded in 1884, Woodbur serves the Los Angelesprofessional communities, providing accredited graduate

and undergraduate degrees in media, design, architectureand business.Woodburs Department of Animation offers a four-

ear Bachelor of Fine Arts. As part of the School of Media,Culture & Design, animation students attend interdisci-plinar courses with students from Filmmaking, Game Art& Design, and Media Technolog, with an ee towardscreating a more real-world learning experience. Coursesin the animation program focus on stortelling as the foun-datin f qualit aniatin edia. In the rst tw ears,skills-based courses la the groundwork for a variet ofproduction techniques, including traditional hand-drawnanimation, computer graphics, and stop motion anima-tion. Students hone their skills through the production ofpersonal projects in their junior and senior ears. Profes-sional practices include building a portfolio, completingan internship at a nearb studio, and learning collabora-tion and leadership skills. All of their animation facultmembers have substantial professional experience; manare currentl working in the industr.

Adding Toon Boom software to our tool kit has beenf great benet t the students. We rst intrducedToon Boom Storboard Pro in our storboard class.Edward Rosas, who works at Film Roman and teaches inour program, includes Storboard Pro in his curriculum.

Students complete a storboard and animatic, learn-ing the paperless pipeline. Last ear, our juniors learnedAnimate Pro as part of their collaborative animation proj-ect. This ear, as seniors, the went on to use Animate Proin the production of their capstone projects. As part oftheir compositing class, students integrated hand anima-

tion and computer graphics software with Animate Pro tocplete their senir ls, explains Dri Littell-Herrick,Chair, Department of Animation at Woodbur Universit.

Senior Christine Willson, who served as an artist on theSheep Film, has this recommendation to students: Sinceur l was traditinall aniated, Tn B reallhelped with the compositing and colouring processes. Wedid ur junir l in Tn B. We were new t theprogram at the time, so we used it to composite and put inbasic clurs. Nw that we knw hw t use the nde treeand various other features, this ear we are able to do evenmore. M advice to next ears seniors: if ou are planningn aniating traditinall, Id denitel recend using

this program.We look forward to integrating Toon Boom soft-

ware into more of our courses, sas Dori Littell-Herrick.Moving towards a complete paperless pipeline, we areplanning to add the puppet stle animation to the currenttraditional animation stle. Also, one of our alumni from2004, Ross Blocher, is Training Project Manager at DisneStudios, where the are developing a paperless pipelinebased on Harmon. We are currentl developing post-graduate training opportunities for industr professionals,including our alumni. Well share more about that in thefuture, teases Littell-Herrick.


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Embracethe Toon Boom

Workow

Paperless storytellingRecognized as the most innovativesoftware, Toon Boom StoryboardPro 3D speeds up pre-productionand offers limitless visual possibilitiescombining 2D, 3D and mixed media.

From the idea to the reelBased on Emm award-winningtechnolog, the Toon Boom HarmonySolution includes superior vector

technolog, real-time animation, apowerful compositing engine, 2D-3Dintegration capabilities, all set in amulti-plane environment.

Track from anywhereToon Boom Manager is the perfectproduction tracking sstem thatcombines everthing required formonitoring dail activities, productionpace and communication betweenmembers of the team.

aok cosy of i e.

Documents

Toon Boom News Summer 2012