Features

And animation for all…

Arj and PoopyAustralian animation is thriving in different genres and styles, but that doesn’t mean everything is perfect in the visually colourful sector. Miguel Gonzalez reports.

After a long, long wait, the new digital children’s channel is about to become a reality, with the launch of ABC3. With a first-year budget of $19 million, it will target school-age kids (6-15 years) from 6 am to 9 pm daily. Its introduction will be accompanied by an increase in ABC2’s ABC for Kids programming for pre-school children, while the current week-day children’s entertainment blocks on ABC1 will remain untouched.

The aim is to offer 50 percent Australian content within the first four years of operation; the set triennial budget is the main challenge in achieving this goal, so it will have to be done by means of a mix of commissioning new programs and acquiring existing content. Animation will be “an important part of the programming” for both ABC3 and ABC for Kids, according to Tim Brooke Hunt, executive head of children’s at ABC TV.

The executive is of the opinion that animation producers have proven themselves capable of raising significant levels of international finance, meaning that animation is “usually no more expensive to commission than live action”. Besides, the broadcaster is not looking for expensive CGI just for the sake of its production values, as the emphasis remains on storytelling.

The ABC has a number of animated series currently in production, including CJ the DJ (52×12’ series from Kapow Pictures for ABC3 and ABC1), Dirtgirlworld (52×12’ series from MeMeMe Productions and DECODE of Canada), Bananas in Pyjamas (104×12’ from Southern Star), Gasp! (52×12’, from SLR Productions and co-commissioned with the Nine Network), and Dex Hamilton (26×24’ from SLR Productions). Other series are at various stages of development and financing.

FINDING A PARTNER

Few would deny the importance of co-productions in the animation arena, as they open up new markets and represent essential funds, but they can also be problematic in terms of creative control. SPAA’s Councillor for Animation Suzanne Ryan agrees that the most pressing issues facing animation producers are raising finance for shows and sustaining production in the country, making it necessary to co-produce.

Sticky Pictures has done so with Canada and the UK, and its co-director Donna Andrews believes coproduction treaties should be reviewed to allow technical animation, “the filling in”, to be completed offshore, in countries such as the Philippines.

“It’s a huge volume of work required in technical animation, and we don’t have the facilities in Australia to cater for multiple TV series production, nor can we compete financially,” she argues. “Australians would still drive the creative aspects of the series.”

Ambience Entertainment’s David Webster understands it is essential to find an international partner before finding a local. Their relationship with Canada has been fruitful, with 78 episodes and three series of Erky Perky (currently in the final stages of production), but it’s one that seems to be getting colder.

“It’s getting tougher to get a broadcast commitment in Canada for animation projects,” admits Webster, the series director. “They’re now looking to the likes of Hannah Montana and live action kid’s shows, but it will inevitably turn back to animation.

“It tends to be a new focus each year, but it’s difficult to adapt to the shifts in the market. That’s why I try to go for our strengths; we do boys’ comedy animation very well, so most of our projects are focused on that target audience, for which we’re getting a reputation.”

A major event for animation practitioners might present them with new partners next year. The 2010 Cartoon Connection will be a sister conference to the European Cartoon Forum, which will see European producers, broadcasters, distributors and investors coming to Australia to network with local producers.

And as if faltering co-prod partners were not trouble enough, another dilemma is that despite Australia’s success with The Wiggles, Bananas in Pyjamas and Hi-5, preschool production remains at an all time low.

“It’s a tougher market than older kid’s programming, an enigma in Australia although globally it’s the biggest money spinner,” explains Ryan. “With no flexibility in format for FTA, we have to produce 30-mins with no ad breaks, no Screen Australia funding – preschool is not supported – and low commissioning dollars.”

That is why SPAA will introduce a kids session at November’s Conference in Sydney, to discuss what can be done to increase preschool production.

DEMOGRAPHIC CHANGE

Many kid’s TV producers have been busy lately, from SLR, Sticky Pictures, Flying Bark, Ambience, MeMeMe, Hackett Films, Blue Rocket, FunnyAzHell, Mad Cow Pictures and Media World all delivering projects to national and international broadcasters, despite the limited timeslots and tight dollars – a certain global financial crisis has not made it any easier for anyone.

Donna Andrews at Sticky has noticed that things have changed in the world of children’s TV animation. For a number of years broadcasters pushed for programming for the 8-12 years demographic, but the demand is now split between 6-9 years and 10-14. They’re also asking for a 360o pitch, a multiplatform approach that is “good in theory”, but financially difficult.

“In some territories an additional fee is added to the production budget to explore multi-platform opportunities, but it’s not an accepted practice in Australia,” explains Andrews.

“One that is an extended practice is adapting existing material, a way to attract different existing fan bases.”

SLR’s major new project is a 52×11’ series based on the picture book Guess How Much I Love You, which has sold more than 20 million copies globally. The series is supported by broadcasters Ki.KA in Germany and the Disney Channel Australia. Sticky is working on an adaptation of the comic strip Dennis the Menace titled Dennis & Gnasher, 26×24’ for the Nine Network and the BBC (co-produced with Scotland’s Red Kite Animation). Their upcoming Pearlie debuts on October 3 on TEN, and it is also based on a series of books (by Wendy Harmer). The $8.6 million 26×24’ series is coproduced with Nelvana Ltd for TEN and YTV in Canada.

Animator Bernard Derriman has worked on a version of Shane Jacobson’s Kenny character, and another based on ‘Chopper’ Read. But for every adapted work, there’s also a new idea; Derriman is currently developing Arj and Poopy with comedian Arj Barker. His work is available online (www.squetch.com).

HAPPY OR UNHAPPY MEAL?

Many haven’t been able to exploit the benefits of 360-degree programming. SLR’s Ryan believes, however, that it’s important to have a well thought out multi-platform strategy before venturing further down that path. Perhaps that’s why the ABC has had someone to look after their in-house brands and has recently appointed a dedicated key brands manager, whose reach covers brands created by independent producers.

“We recognise that children like to engage in their favourite characters in a number of ways, including on stage, in books, through music, etc.” says Brooke-Hunt.

It might require an extra effort, such as hiring a publicity company to build awareness of your brand. That’s what Sticky has done for Pearlie; in addition to TEN’s publicity work, they will promote the brand locally and internationally, which Andrews hopes will put them in a better position when talking to licensing companies, due to the competitive nature of the world of licensing.

Of course there are exceptions to the rule, such as Adam Elliott, who has chosen not to tap into the licensing of Harvie Krumpet or Mary and Max as a source of revenue: “Once they become a Happy Meal, they lose their dignity and their sincerity.”

Derriman has also resisted advertising on his websites, because he hates the look of it.

“And I’d be pretty fussy about what I’d advertise anyhow,” although he admits he has Arj and Poopy tshirts for sale, and has already shipped a few around the world. “It’s great to think of someone in Israel or Canada wandering around with one on!”

TVCS: MORE FOR LESS

A good percentage of animation work is created for television commercials, but this year the global financial crisis has seen budgets slashed, and the creation of numerous boutique studios around the country has increased the level of competition, forcing some to close down, and others to look beyond our borders.

Patrick McAteer, general manager of Oktobor, has noticed a drop in local advertising in general, which has made them focus more on international work and create more content from scratch. At The Lab, project numbers are down, but according to head of 3D Clinton Downs, in terms of quality and time expectation, things are as tight as ever.

“There is an expectation of ‘more for less’, and there are also many more talented companies competing in this arena than ever before, which puts pressure that makes everyone more resourceful,” says Mark Simpson, design director at Sydney-based studio Sixty40.

Sixty40 is co-headed by animation director Matt Taylor. They’ve recently won awards for their interactive campaign for the Sydney Dogs and Cats home; they’re now working on the promotional short film for SPAA Fringe, involving monstrous plasticine blobs, and developing a project with Sony Music to create 360o characters, as well as a short about zombies.

In Queensland, Liquid Animation director Ross Anderson is getting two types of clients; “those who are driven by cost and want to get their logo on the screen, and those who reinvest their dollars creatively”. Anderson believes the industry must at some point return to the value of production, appreciating that good, creative work costs money.

According to Taylor, a noticeable trend in TVC animation is the integration into live action, in realist and hyper-realist styles, as well as a resurgence of stop-motion with a whimsical touch. “Agencies are opening their eyes to the possibilities offered by all styles of animation,” he says.

For Downs, a current trend at The Lab is the use of more completely realistic animation that the casual observer can’t even spot as CG. Cutting Edge CEO Ray Smith agrees in the increase in seamless integration between animation and live action.

“Many want to concentrate on finding an unusual or unique visual hook, rather than thinking about the actual method by which it’s made,” adds Liquid’s executive producer Mike Viner. “Consumers quickly become accustomed to current popular visual styles, so it’s in the best interest to combine techniques that create hybrid designs to surprise the audience.”

Small animation companies have their bread and butter TVC jobs, but they also want to branch out and create their own projects, from short films to train their staff, build a stronger narrative portfolio and visibility at international festivals, to television and feature projects.

The People’s Republic of Animation has done so with The Cat Piano, which entered many prestigious festivals including Annecy. They do work for TVCs and video game developers, but MD Sam White says they’re developing a solid slate of edgy feature film projects aimed at the 18-35 audience, and figuring out a private overseas investment financing model that will allow them to get to market fast.

Liquid Animation has completed development of ‘bibles’ for several of their own ideas for television series, which are now pitching to potential partners.

“The end goal of most animation companies is to produce their own short and feature films,” admits Liquid’s Viner. “We’re no different.”

With animation experience for features, Cutting Edge is in development of two longform projects, K9 and Beauty and the Beast, and increasing its visual effects presence in the feature film sector.

But it’s not an easy task, as they face more established competitors who already have a relationship with broadcasters.

“Networks, particularly in Australia, are nervous of taking a risk; it will be harder for non-established players to break into the game,” says Taylor. “Why go for a dark horse when you can work with a tried provider that creates safe, but perhaps unoriginal content?

“Collaboration between networks and creators early on in development allows the latter to offer their most innovative ideas in a way that fits the former’s needs.”

According to Suzanne Ryan, the networks, locally and internationally, are looking for fresh programming, “anything from teen boy-focused shows to family viewing and comedy animation; it’s all up for grabs and it’s an exciting time to get creative as a producer.”

Ambience’s Webster agrees: “You’re pitching for timeslots, you’re not aware of the competition pitching for that, until something has been commissioned. We all know each other and we’re all approaching the same partners… but there’s a healthy camaraderie.”

ADULTS ONLY

2009 was the year that adult animation came of age in Australia, with the release of two feature films which, coincidentally, were the first two stop motion longform productions ever made in the country.

$9.99 producer Emile Sherman describes it as “a coincidence to a large degree”, but one that proved that a medium that has been traditionally restricted to high budget studio films is now a viable option for independent Australian filmmakers, thanks to changes in technology that allow people to shoot with digital still cameras instead of 35 mm. film. It also proved that there is an appetite for a different kind of animation.

“Animation will be dominated by kid’s TV. Directors can make a living doing that, and there are lots of incredibly creative projects in that genre, but there must also be adult animation,” he argues. “There will be a few directors who will go from adult feature to adult feature, but not many. Internationally, there has been more sophisticated TV animation for adults in the last few years, and many people in Australia would be happy to watch animation as an adult art form.”

According to Academy Award-winning director Chris Landreth (Ryan, 2005), animation has been used to tell] stories that couldn’t be done with live action, including fantasy, which led to its becoming a children’s medium.

“We’re seeing a proliferation of animation used for more sophisticated  storytelling,” he said.

Landreth, fellow Oscar winner Adam Elliott and $9.99’s Tatia Rosenthal all agree that high-profile overseas films such as the recent Waltz with Bashir and Persepolis, as well as their own work, are all opening the door for a bigger audience for adult animation.

Adam Elliott’s first feature, Mary and Max, was a critical and audience success in Australia and overseas that proved there is a market for adult animation in this country. The challenge, he says, was not making people like the film, but getting them to the cinema. He admits there’s “a lot of pressure” for him to make another film, but it will take at least another two years to write the story and finance the project.

“It’s getting more and more competitive to be an animator, and harder to raise the millions of dollars you need when you’re pursuing an expensive art form, and I try to write the best scripts to raise the most money, but it’s depressing to spend so many years making something and being able to download it right now.”

Toronto-based Landreth agrees that online represents a challenge, but it’s also a window that has given animators and their work a life beyond festivals.

“I’ve seen more animated short films through links sent to me than I ever saw going to festivals,” he told Encore during a brief visit to Sydney to talk to UTS animation students. “That being said, there is no revenue there, not potentially. I’d like more intellectual property awareness for audiences, which could create some revenue for artists.”

According to Elliott, Mary and Max will “eventually make a profit, but maybe not this year”. The film will make its money back, he believes, by combining the French release and the DVD sales.

With high costs, it’s difficult for an adult animated film to make its money back, so perhaps it’s not a bad idea that The People’s Republic of Animation’s Eddie White is developing a script for an ultra low-budget $350,000 animated feature, part of the SAFC’s FilmLab initiative. It will be a live action/animation mix, a film within a film about an illustrator whose animated world reflects his unconscious, with a “quite basic and simple” style of animation. The project is scheduled to premiere at the 2011 Adelaide Film Festival.

OWLS AND PENGUINS

The next batch of animated features will target a broader audience and compete globally with the Pixars and Dreamworks of the world, Happy Meals and all.

Animal Logic is currently in production of Guardians of Ga’Hoole. Helmed by American director Zack Snyder, who built a close working relationship with Animal Logic via the visual effects of his film 300, it will be Australia’s first stereoscopic 3D feature, and it is scheduled for release on Boxing Day 2010. Ga’Hoole is based on the books by Kathryn Lasky, and co-financed and distributed by Village Roadshow/Warner Bros. Pictures. The film will employ 300 artists during production; Snyder has divided his time between Sydney and California, developing a long-distance methodology with his Ga’Hoole team.

At the same time, the Omnilab/Miller Kennedy joint venture Dr. D Studios is working on the sequel to their 2006 blockbuster hit Happy Feet, also in 3D. The film will once again be directed by George Miller, with Rob Coleman (Star Wars) as head of the animation team.

Both Animal Logic and Dr. D declined to comment because it’s still early days, but both will give work and invaluable experience to hundreds of animators.

DEVELOPING SKILLS

Industry players speak of significant skill shortages in particular areas such as drawing fundamentals (regardless of platform or software), storyboarding and production management specific to animation, across a number of areas including workflow, scheduling and dealing with both crew and voice talent. Others add that research and development is vital for a sector that is so technologically dependent, and an area of opportunity to provide producers with a rebate.

A survey revealed that skill areas that education providers should emphasise in their curriculum are modelling, texturing unwrapping, lighting, animating, rigging, rendering, special effects, compositing, animation workflows, production and post-production of animation, pricing/quoting, pitching and demo reels, copyright issues and basic screen industry knowledge.

There are also concerns of work experience for smaller production companies; they know it’s important, but on-the-job training consumes their limited resources, outweighing the benefits to them.

Educational institutions understand the need to keep up with industry demands and expectations. The Australian Film, Television and Radio School no longer offers a two-year MA program, but shorter part-time advanced courses for people who are already at an industry or near-industry level who wish to hone their skills. AFTRS offers a Graduate Certificate in 3D animation, and as of 2010, one in animation directing. The former takes people’s existing skills through to 3D using Maya, in a production-focused program. The latter is “more about the ideas than the craft”, according to the director of their digital division, Peter Giles.

Giles says that their graduates are highly employable because animation is an exception in these hard times due to a high, sustained demand for skilled people. AFTRS places students with production companies; their most successful internship scheme is funded by the SAFC in Adelaide, where the companies “tend to be more accessible”, with a similar but more limited initiative also in place with support from the NSW FTO.

3D animation students work on an industry brief to get experience working for a real client, such as the ABC and Nickelodeon. Animation direction will be “slightly different”, because it will focus on developing an idea and a series bible for a longform production, which will be pitched to major companies.

UTS in Sydney is trying hard to become a major force in Australian animation, with its Master of Animation and as the venue for the Sydney International Animation Festival earlier this month.

Course director Markus Fischmann says UTS aims to marry art and IT, while covering traditional cell animation and stop-motion alongside digital.

“Not everybody is going to Hollywood, but there are jobs somewhere in the field of animation, in Australia and internationally” he says. “We make it clear to them very early on that there’s a possibility for them to make it as auteurs, but most of them will work in a studio environment, so they must learn collaborative team work and be prepared to earn money in the industry while getting their own projects up.”

Both AFTRS and UTS have developed a close relationship with companies such as Ambience Entertainment, Animal Logic, Rising Sun, Fuel VFX and Dr D. all offering their insights to students. But only through constant feedback and involvement will the skill gap be closed, with the understanding that no matter how hands-on a course may be, there are lessons that can only be learned on the job. ■

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