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The Academy of Motion Picture Arts and Sciences today announced shortlists in 10 categories for the 96th Academy Awards: Documentary Feature Film, Documentary Short Film, International Feature Film, Makeup and Hairstyling, Music (Original Score), Music (Original Song), Animated Short Film, Live Action Short Film, Sound and Visual Effects.
Categories with animation contenders are:
ANIMATED SHORT FILM
Fifteen films will advance in the Animated Short Film category for the 96th Academy Awards. Ninety-three films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees. The films, listed in alphabetical order by title, are: “
Ten films remain in the running in the Visual Effects category for the 96th Academy Awards. The Visual Effects Branch Executive Committee determined the shortlist. All members of the Visual Effects Branch will be invited to view excerpts and interviews with the artists from each of the shortlisted films on Saturday, January 13, 2024. Branch members will vote to nominate five films for final Oscar consideration. The films, listed in alphabetical order by title, are:
Additionally, Spider-Man: Across the Spider-Verse is the only animated entry in the shortlists for Music (Original Song) (“Am I Dreaming”); it is also up for Music (Original Score) as well as The Boy and the Heron and Elemental.
Nominations voting begins on Thursday, January 11, 2024, and concludes on Tuesday, January 16, 2024. Nominations for the 96th Academy Awards will be announced on Tuesday, January 23, 2024.
The 96th Oscars will be held on Sunday, March 10, 2024, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC and in more than 200 territories worldwide.
SIGGRAPH Asia 2023, organized by Koelnmesse Pte Ltd and ACM SIGGRAPH, concluded on December 15 at ICC Sydney, celebrating the edition’s success in shaping the future of animation, virtual reality, artificial intelligence and related computer graphics and interactive techniques and technologies. The 2023 event attracted 5,690 attendees from more than 40 countries and featured 30 exhibiting brands.
“As the curtain falls on SIGGRAPH Asia 2023 in Sydney, it stands out as a brilliant success,” said Conference Chair June Kim. “Thousands of visitors from over 40 countries experienced innovation at its peak, with over 30 leading brands and impactful presentations setting new standards in computer graphics and interactive techniques. From keynotes by luminaries to groundbreaking showcases and awards, we’re grateful for the support of computer, animation, and tech visionaries. Special thanks to our partners in Sydney for being tremendous hosts.”
Key Highlights and Achievements
The SIGGRAPH Asia 2023 Conference and Exhibition served as a vibrant showcase of the latest developments in the CG arena. Luminaries Jun Murai of Keio University and Joe Letteri from Wētā FX shared invaluable insights with their keynote presentations on “Internet Civilization: A New Frontier for Humankind” and “Innovation & Avatar: The Way of Water,” respectively.
Featured sessions included speakers like Rob Bredow of Industrial Light & Magic and Paul Debevec of Netflix, who offered unique perspectives, touching on themes ranging from the synergy of art and technology to the frontiers of virtual production. Forward-thinking panels delved into the latest trends in Character Animation, VFX, Digital Humans and the future of computer animation tools.
The Conference also took a look into how a hybrid society is emerging via extended reality by exploring how with digital twin tech, artifacts, space and humans can be replicated in a digital form. One of the highlights was a real-time demonstration that demonstrated how digital twin, big data visualization and extended reality can connect from Sydney to other cities via Super Speed Connectivity.
Much conversation at SIGGRAPH Asia 2023 revolved around generative AI, a topic that was brought up at numerous sessions. These sessions delved into the intricacies and applications of generative AI, providing valuable insights and expanding the overall understanding of this cutting-edge technology.
Fostering Future Talent and Education
The theme ‘Connecting Stories’ rang true among participants, who described how important it was to convey how their technology was being applied in an everyday sense — whether it be to help blind people navigate or an apparatus that uses sign language. Students, researchers and academics mingled with those from the industry, sharing their ideas and work in progress.
Attracting newcomers to the industry is important, and so SIGGRAPH Asia sought ways to proactively interest the young. Another notable highlight of the conference was the Computer Animation Festival, which featured an eclectic mix of 38 films, ranging from narrative shorts to scientific visualizations. It included works from the inaugural Junior Computer Animation Festival, which brought to life the event’s commitment to fostering new talent.
“It has truly been an honor to co-chair the Computer Animation Festival at SIGGRAPH Asia 2023.” said Rob Coleman. “My SIGGRAPH journey began in 1992 in Chicago; the Electronic Theater at that event left an indelible impression on me. Back then, the internet didn’t exist, which meant that SIGGRAPH was the hub for seeing the latest in computer graphics. At that time, I had a limited view of the field; however, attending SIGGRAPH introduced me to a world of diverse content… Witnessing the exceptional global talent showcased this year is incredibly rewarding.”
Technological Showcases and Inclusivity
Emerging technologies were showcased at SIGGRAPH Asia 2023 that show promise to redefine the industry. Over 900 Technical Papers were submitted to SIGGRAPH Asia 2023 and juried by more than 180 experts and over 3,000 anonymous peer reviewers.
Courses and Talks sessions, particularly those focusing on the transformative potential of artificial intelligence on the tools the industry uses, were a window into the future of the industry. New tools offer potential in lowering the barriers to entry for more artists and designers to join the computer graphics and interactive techniques sectors.
Inspiring panel discussions underscored how SIGGRAPH Asia places emphasis on creating a neuro-diverse and inclusive community, providing a nurturing environment for discussions and learning as to Diversity, Equity and Inclusion (DEI).
Recognizing Excellence
Outstanding individuals and teams were celebrated through multiple awards programs. Among the notable honorees, Australian artist Paul Brown received the prestigious Distinguished Artist Award for Lifetime Achievement in Digital Art from SIGGRAPH ACM and Singaporean Associate Professor Yong Tsui (YT) Lee was honored with the SIGGRAPH ACM Outstanding Service Award in recognition of his nurturing and fostering of the SIGGRAPH Asia community and Conference.
A recap of the Computer Animation Festival winners follows below; see all the SIGGRAPH Asia 2023 award winners here.
An Intriguing Exhibition
Visitors to the SIGGRAPH Asia 2023 Exhibition encountered emerging potential for technology, from healthcare and transportation to space and entertainment, with powerful new visualization and interactive tools. Prominent industry leaders, including FORUM8, Adobe, NVIDIA, Industrial Light and Magic, MSI, Vicon, and Wētā FX exhibited, offering glimpses into the future of animation & visual effects, augmented reality, cloud-based systems, computer graphics, interactive & innovative technologies, gaming technologies, imaging, virtual reality & simulation, visualization, and much more.
People attended Demoscene to see the very cutting-edge of computer demonstrations, and the Experience Hall to participate in an immersive Art Gallery, an extended reality (XR) program and witness the emergence of the very latest emerging technologies for CGI, special effects and animation.
The Exhibitor Talks featured influential speakers from Adobe, Canva, DNEG, Foundry, Gigabyte, NVIDIA and Pixar Animation Studios, who introduced audiences to the latest advancements in technology and the innovative techniques that are shaping the future.
To Tokyo and Beyond
As SIGGRAPH Asia 2023 drew to a close, it left an indelible mark on Sydney participants, many of whom had never attended a SIGGRAPH event prior. Hosting the event in Sydney is a reflection of Australia’s growing importance in the global computer graphics industry. The local surge in activities in both 2D and 3D animation work is evident in the increasing demand for artists and expansion of local production companies in these fields, and insofar as local companies are expanding their capabilities and adopting new technologies for series work.
“I am deeply grateful to all the local and international supporters for making this edition in Sydney exceptionally memorable and successful. We eagerly anticipate the next gathering in Tokyo in early December 2024!” added Kim.
Best in Show: Moirai – Thread of Life | Ina Conradi & Mark Chavez
Jury’s Special Award: Hair Universe | Jinuk Choi, Kotory Studio
Best Student Project: Thaba Ye | Preetam Dhar, Daria Batueva, Hannah Judd, Mogau Kekana, Merel Hamers & Leroy Le Roux | producers: Cécile Blondel, Gobelins
Honorable Mention: Quem Salva| Laure Devin, Maxime Bourstin, Nathan Medam, Charles Hechinger, Titouan Jaouen | p: Philippes Meis, Supinfocom Rubika
Honorable Mention: Loup y es-tu ? | Louise Laurent, Alizée Van De Valle, Emma Fessart, Jeanne Galland, Célina Lebon, Annouck Françoise | Supinfocom Rubika
Anime fans, global animation lovers and cinephiles of all descriptions now have a chance to own an exemplary box set collecting the works of one of today’s most esteemed auteur directors with the Masaaki Yuasa: Five Films Blu-ray box set, available now from GKIDS and Shout! Factory.
The set includes high-def presentations of Yuasa’s feature films Mind Game (2004), Night Is Short, Walk on Girl (2017), Lu Over the Wall (2017), Ride Your Wave (2019) and Inu-Oh (2021) — as well as a treasure trove of never-before-seen bonus features and a 60-page book celebrating his work. (See more details in our previous coverage here!)
In an exclusive clip from these bonus features shared with Animation Magazine, viewers come along for a night out with the filmmaker to a Los Angeles speakeasy as he discusses his inspirations, favorite type of restaurants, perfect vacation, dancing and more.
Warner Bros. Discovery — home to major animated entertainment brands such as the classic Looney Tunes, Scooby-Doo and Hanna-Barbera catalogs as well as Cartoon Network’s stable of hits — and Paramount Global — purveyors of SpongeBob SquarePants, PAW Patrol, Teenage Mutant Ninja Turtles, Sonic the Hedgehog and more Nickelodeon toon favorites — are discussing a possible merger, according to info first reported by Axios and confirmed by Variety without comment.
Sources disclosed that WBD’s CEO David Zaslav, who sparked ire across Toon Town with cuts to animated content in the wake of the Warner Bros.-Discovery merger, and Paramount Global CEO Bob Bakish had a lunch meeting Tuesday in New York to talk about combining the two entertainment giants. Zaslav, they say, has also discussed the matter with Shari Redstone, who owns a controlling stake in Paramount Global through National Amusements Inc. Paramount Global is itself the result of a 2019 merger of CBS and Viacom, driven by Redstone, who has reportedly been shopping her shares in National Amusements.
Should it go through, the move could result in yet another streaming platform recombination of WBD’s Max and Paramount+, which could provide stiffer competition for Netflix and Disney+. The combined outfit would also blend the major movie divisions Warner Bros. Pictures and Paramount Pictures, as well as television networks including Cartoon Network, HBO, TBS (WBD), Comedy Central, MTV and Nickelodeon (PG).
Terms of the deal under discussion were not revealed.
Meta Quest users can step into an immersive, animated storybook for a unique take on a tale of love and friendship in Pepitos: The Beak Saga, a new VR project from Ruxandra Gabriela Popescu (a.k.a. Ruxandra GP). The story follows a little creature called Pepitos, who is confronted with a difficult decision when two strangers arrive on his planet to claim his magical beak for themselves. Audiences can now enjoy the Venice Immersive-selected work through their own headsets.
The director & creator says her goal for the experience was to “bring a fresh perspective to immersive storytelling through a harmonious blend of humor, drama and unique visuals” in “a magical world where we could explore complex themes and emotions without overwhelming [viewers],” anchored in themes of cross-cultural collaboration, acceptance and the shared human experience.
Popescu, who was born in Romania and is now based in Belfast, where she worked for award-winning animation & children’s television studio Sixteen South before venturing into XR media, directed the 15-minute adventure from a screenplay by Eleanor Thibeaux (Mahal, Rebels). Popescu also served as a producer alongside Ryan Genji Thomas and Goro Fujita for Meta, both of whom are DreamWorks Animation alums. Pepitos features music by Ethan Schreiber, with voice overs performed by Will Jennings, Emma Ballantine, David Elliott, Kate Arneil and Adianez Buch.
Pepitos: The Beak Saga is now available for Meta Quest through the Oculus store. See more of Popescu’s work at ruxandragp.com.
Paris-based tech outfit Animaj has introduced a new artificial intelligence tool aiming to pave the way for a new era in digital and premium children’s animation. The AI-assisted production workflow’s goals are in line with Jeffrey Katzenberg’s prediction that this emerging technology will cut animation labor by 90% in the next five years.
Animaj’s model is specifically tailored to the requirements of children’s animation — such as addressing non-human body proportions for characters and unique styles of movement with sophisticated Motion-to-Motion retransfer and character adaption models — and trained on a proprietary database, circumventing rights issues.
“Our AI Workflow is not just a technological advancement; it’s a strategic reshaping of the whole animation process, tailored for high-quality stories and iconic characters that captivate kids’ imaginations,” said Animaj Co-Founder & CEO Sixte De Vauplane.
Animaj’s AI production workflow is already helping bring kids’ animation to screens.
These specially honed features include:
Text-to-3D Motion: Simply type a scene and watch your characters come to life in a fully editable 3D environment. This tool bridges the gap between scripts, storyboards and high-quality animation, offering animators the freedom to modify scenes in real time, enhancing creativity and control.
Motion-to-Motion Retransfer: This transformative feature automatically adapts motions, rigs and meshes from humanoid figures to characters of any shape, slashing production time by up to 60%.
Text or Animatic to Motion Retrieval: This time-saving feature accelerates the animation workflow by allowing animators to quickly re-use library assets from text or animatics, maintaining the unique visual style and identity of each character.
Inspired by the Oscar-winning 2016 animal buddy-cop comedy from Walt Disney Animation Studios, a new Zootopia land has opened this week (Wednesday, December 20) in the Shanghai Disney Resort. The area and its attractions bring to life the colorful world of urbanized wildlife with the Resort’s “Authentically Disney, Distinctly Chinese” twist.
The CG-animated film, directed by Byron Howard and Rich Moore from a screenplay by Jared Bush and Phil Johnston, centers on the unlikely team of fox con artist Nick Wilde (voiced by Jason Bateman) and the mammalian metropolis’ first rabbit police officer, Judy Hopps (Ginnifer Goodwin) as they team up to solve a series of savage outbreaks. The film made more than $1 billion in global box office, one of the top performing theatrical releases of the year. China was Zootopia‘s second-biggest market, where the film grossed $236 million.
“The beloved Disney Animation film Zootopia has fostered a strong connection with its audience since its debut. We are thrilled to have the opportunity to bring that very connection to life right here in Shanghai with this one-of-a-kind themed land,” said Joe Schott, President & General Manager of Shanghai Disney Resort.
“Over years of development, diverse minds and talent around the globe from more than 140 disciplines worked tirelessly to create a unique ‘mammalian’ experience for our guests, immersing them in this metropolis’ vibrant animal world. We are extremely proud of what they’ve created, and confident that everyone will be amazed from their very first step into Zootopia.”
Visitors to Zootopia can visit locales such as the storefront-lined Mane Street, the billboard-laden Savannah Central, Zootopia Central Station and more, all recreated in compelling detail. Guests will also encounter characters from the film — including fan-favorite, Flash the sloth.
The land’s focal attraction is Zootopia: Hot Pursuit, a family-friendly ride utilizing an innovative trackless system. The eventful experience is set after the film’s timeline, inviting guests to become rookie police officers and join in the action as officers Judy and Nick track down criminals after a jailbreak.
Carnivores, herbivores and omnivores alike can taste Zootopian cuisine at eateries such as Jumbeaux’s Café, the elephant-run ice cream shop, or enjoy some shopping at Fashions by Fru Fru. Plus, a new atmosphere show offers guests more chances to spot their favorite Zootopia characters in Disney’s Zootopia Comes Alive.
In the old wintry tradition of roaming ghosts and eerie firelit tales, a new promotional animation for the BBC podcast The Sleeping Forecast offers a stop-motion take on Charles Dickens’ classic novel A Christmas Carol.
Director Joseph Wallace (Salvation Has No Name, The Sparks Brothers) was enlisted to capture this blend of seasonal chills and yuletide cheer, which is narrated by British actress Charlotte Ritchie (Ghosts, Fresh Meat, You).
Wallace designed the Christmas short, which is crafted in his trademark textural, painterly stop-motion style, and features puppets by Adeena Grubb (The Marshalls, Kizazi Moto: Generation Fire, Don’t Hug Me I’m Scared) and cinematography by Daniel Morgan.
BTS photography courtesy of Joseph Wallace Productions
The promo brings to life the Dickensian scene in which miserly Ebenezer Scrooge is visited by the first of four ghosts — his old colleague, Jacob Marley. In the animated version, Scrooge is pictured sympathetically as a lonely and frightened old man.
“Spooky Victorian houses are my happy place,” says Wallace. “I had a great time bringing this scene from A Christmas Carol to life, mixing ghostly apparitions with festive fun!”
The spot was produced and creative directed by Yoav Segal at Atime Works and shot at Studio Linguini.
“The BBC got in touch as they’d seen a spooky miniature set I’d made on my Insta,” noted Segal, “and witnessing it become this stunning animation that Joseph and the brilliant team have created, has been a real joy!”
DreamWorks Animation today surfaced with the Season 2 trailer for its magical self-acceptance story Not Quite Narwhal, based on the children’s book by Jessie Sima. The second season debuts January 22 on Netflix, following the first batch which debuted in June. The series centers on an adventurous youngster who is half narwhal and half unicorn, and follows his charming escapades on land and sea as he explores both sides of his unique heritage.
Synopsis: With two magical worlds to explore, Kelp is busy embracing his new life as a narwhal and a unicorn! Whether discovering mysterious sea sculptures, playing an exciting game of Sparks Ball, or enjoying a special visit from the Great Great Grandicorn, Kelp and his friends always follow their curiosity. They’ll even get to meet a snow unicorn named Dambi and two-horned narwhal named Barb, embracing the magic of what makes everyone unique, on land and in the sea!
Not Quite Narwhal features the voices of Nevin Kar as Kelp, Lucy Lowe as Scallop, Ryan Lopez as Cruz, Scarlett Kate Ferguson as Pixie, Sasha Knight as Ollie and Mixie Chen as Juniper. Guest stars for S2 include Matt Yang King as Dad Tuskington and Crabby, Weston Mangles as Theo, James Monroe Iglehart as Chef Jinglehooves, Kevin Dunn as Mr. Pearly, Sally Struthers as Mrs. Polydopoulos and Yvette Nicole Brown as Great Great Grandicorn.
The series is co-executive produced by Brian K. Roberts, Naika Trower Shuman and Sarah Katin.
The Critics’ Circle (U.K.) announced their nominations today (Wednesday) at an event hosted by actors Jing Lusi and Ényì Okoronkwo at The May Fair Hotel in London. This year’s winners in all categories will be announced at London’s May Fair Hotel on February 4, where actor Jeffrey Wright will be honored with The Dillys Powell Award for Excellence in Film, named after the celebrated critic.
Andrew Haigh’s drama All of Us Strangers led the field with nine nominations, followed by Christopher Nolan’s epic biopic Oppenheimer with seven and a trio of powerhouse festival films with six: Celine Song’s Past Lives, Yorgos Lanthimos’ Poor Things and Jonathan Glazer’s The Zone of Interest. Greta Gerwig’s Barbie received five nominations.
Outside this category, The Boy and the Heron represents animation in the Foreign-Language Film of the Year competition (up against Anatomy of a Fall, Fallen Leaves, Past Lives and Zone of Interest), while The First Slam Dunk sound designer Kôji Kasamatsu is nominated for the Technical Achievement Award.
The 44th London Critics’ Circle Film Awards are voted by the 210-member Film Section of the Critics’ Circle, the U.K.’s longest-standing and critics’ organization. See all film nominees at criticscircle.org.uk.
BBC audiences are treated to a new animated adaptation of a children’s book by Julia Donaldson and Axel Scheffler this Christmas. Produced by Magic Light Pictures, Tabby McTat follows a street performer named Fred and his musical cat Tabby who enjoy entertaining audiences in London until tragedy strikes. The charming special is produced by Barney Goodland and Michael Rose.
Goodland was kind enough to answer a few of our questions about this new venture:
The Origins: This is Magic Light Pictures 11th adaptation of a Julia Donaldson and Axel Scheffler picture book. The Gruffalo was the first animated film I worked on as an assistant and I’ve been with Magic Light ever since. Tabby McTat has always been a favorite with us and with fans, so when our script writers, Max Lang and Suzanne Lang, came up with a way of approaching the adaptation it was a very easy decision to keep going and make this our next special.
Production Details: From the first treatment to delivery, the film took close to two years to produce. We spend a couple of months on the script and, then, six to nine months on the animatic. Lots of the stages then overlap, but design, modeling, animation, lighting and comp all take about six to eight months each. We do cast recordings before animation starts and music composition begins in the second half of the animation’s schedule. Recording the music, completing the sound mix and grade then takes three to four weeks at the end.
The special was animated by Red Star (The Amazing Maurice) in Sheffield. This is our first collaboration with them, but they have a highly skilled and experienced team who picked this project up magnificently. We used Maya Autodesk, Houdini, Substance, Photoshop, Fusion and ZBrush. Across all departments approximately 120 people have worked on the film.
Project Highlights: I love that it’s a story about friendship and family and the strength of relationships. It’s also about change and learning how to accept it. The story shows us how relationships can change and evolve and how they can become stronger for it.
Animation Style: The film is fully CGI, but the style is in a stop-motion and clay aesthetic. This follows all of our previous Donaldson and Scheffler specials and harks back to The Gruffalo, The Gruffalo’s Child and Room on the Broom. Those specials were made using a combination of model sets and CGI characters. It’s an aesthetic that gives the film a fantastic texture and, we think, the feeling that the books have come to life.
Biggest Challenges: Animating cats (with four legs, a tail, whiskers, and expressive ears) is always challenging. The animators also had to contend with cats interacting with humans and them both being key characters for the story. I’m sure there are areas of the U.K. where cat video analytics have spikes from all our animators analyzing cat videos on a loop for reference. Bringing London to life was also a challenge. It not only had to feel believable as London, but also feel true to Axel Scheffler’s drawings and a natural part of the Magic Light aesthetic. I think the directors, Sarah Scrimgeour and Jac Hamman, and the artistic and design teams have all done an incredible job. To me, the London in Tabby McTat feels realistic and rich in detail, whilst maintaining a connection to Axel’s work.
Early Inspirations: From my childhood, I fondly remember watching Disney’s Robin Hood (1973) and The BFG (1983, Cosgrove Hall). At home we had these recorded to videotape from Christmas TV and I remember watching them again and again all year round. The thing that really engaged me was the energy and vibrancy of the films and how I could get swept up in the story. They didn’t have a conscious influence on me looking to work on Christmas specials, but maybe that’s one of the reasons why I love producing Magic Light’s films so much – that focus on shared viewing and Christmas joy.
Project Goals: I hope audiences will feel good about themselves and the people in their lives. That they feel touched by a beautiful and engaging story and that some holiday warmth has emanated from their screens. And, if they don’t already have a cat, I hope they’ll be thinking about adopting one.
Tabby McTat premieres on BBC One this Christmas Day (December 25), available to stream on iPlayer.
Nothing caps off a day of festive fun like snuggling up and enjoying a new animated tale featuring favorite characters! On New Year’s Day on PBS KIDS, youngsters and their families can tune in to a brand-new seasonal special episode of Daniel Tiger’s Neighborhood.
In “Juan Carlos Visits the Neighborhood/Daniel Shows Juan Carlos the Clock Factory,”Daniel has lots of activities he wants to do when Juan Carlos comes to visit, but Mom reminds him to ask his guest what he wants to do. And when Daniel can’t wait to show Juan Carlos the Clock Factory, he remembers to ask Juan Carlos what he wants to do first. His answer: play in the snow as Juan Carlos hasn’t seen snow before!
The special features a new strategy song, which will help instruct little viewers, “When your friend comes to visit you, ask what they want to do.”
Premiering in 2012, Daniel Tiger’s Neighborhood marked the first original television show from Fred Rogers Productions since its source inspiration, Mister Rogers’ Neighborhood. Each episode of the Daytime Emmy-winning series showcases two distinct stories starring four-year-old Daniel Tiger and his friends, who invite viewers to join them as they explore the colorful Neighborhood of Make-Believe. Musical strategies reinforce the unique theme of each show for preschoolers and parents.
Fans of Australia’s beloved cartoon canines can enjoy 10 all-new episodes of the hit animated series Blueynext month, kicking off on January 12 in the U.S. and around the world on Disney+. This batch of stories will air on Disney Channel and Disney Junior in territories around the world later in 2024.
The year’s #1 most-watched series for preschoolers and kids in the U.S. — which has also topped Nielsen streaming charts for overall viewing (Nielsen Media Research; weeks of 11/20/23, 11/6/23; live for streaming) — Bluey features the loveable and inexhaustible Blue Heeler dog Bluey, who lives with her Mum, Dad and little sister, Bingo.
In these 10 new Disney+ episodes, Bluey showcases the joyful simplicity that can be found in families turning everyday events of family life — like making a cubby house (blanket fort) or a trip to the beach — into unique adventures that bring to life how children learn and grow through play. The episodes include:
“Cubby” – Bluey and Bingo build a very special cubby for their stuffed toy, Kimjim.
“Exercise” – Bingo pretends to be Boss Bluey’s new employee in the middle of Dad’s backyard workout.
“Relax” – Bluey and Bingo would rather explore their holiday hotel room than relax on the beach.
“Stickbird” – On a trip to the beach, Mum teaches Bluey how to throw, while Bingo and Dad get creative with a funny shaped stick.
“Show and Tell” – Bluey wants to know why Dad’s always bossing her around!
“Dragon” – Bluey asks Dad to help her draw a dragon for her story.
“Wild Girls” – Coco wants to play Wild Girls with Indy, but Chloe wants her to play another game.
“TV Shop” – At the pharmacy, Bluey and Bingo have fun playing with the CCTV screens.
“Slide” – Bingo and Lila are excited to play on their new waterslide.
“Cricket” – During a friendly game of neighborhood cricket, the dads struggle to bowl Rusty out.
Later in 2024, Disney+ fans will have even more new Bluey to look forward to, when the previously announced first-ever Bluey special, “The Sign,” will premiere on ABC (Australian Broadcasting Corporation) in Australia and globally on Disney+. The 28-minute special is penned by Bluey creator and writer Joe Brumm and directed by Richard Jeffery from Ludo Studio.
Jointly commissioned by ABC Children’s and BBC Studios Kids & Family, Bluey is created and written by Brumm and produced by multi-Emmy Award-winning Ludo Studio in association with Screen Queensland and Screen Australia. The series streams to U.S. and global audiences (outside of Australia, New Zealand and China) across Disney Channel, Disney Junior and Disney+ through a global broadcasting deal between BBC Studios Kids & Family and Disney Branded Television.
In addition to topping ratings charts, Bluey has garnered accolades including the International Kids Emmy Awards, a Critics Choice Award nomination, the Television Critics Association Award, BAFTA Children & Young People Awards, and many more.
Another Universal Pictures release calendar date for next year has been claimed, with the news that DreamWorks Animation adaptation The Wild Robot — helmed by three-time Oscar nominee Chris Sanders (How to Train Your Dragon, The Croods, Lilo & Stitch) — will hit theaters on September 20, 2024. The pic is based on Peter Brown’s 2016 illustrated middle-grade novel, which won a Caldecott Honor and hit No. 1 on the New York Times bestseller list.
Here’s how DreamWorks describes the project, as revealed in the movie’s September announcement:
When Rozzum 7134 (“Roz” for short), a robot designed for a futuristic urban world, finds herself washed ashore on a deserted island, a tale of survival and discovery begins when she becomes the unexpected protector to an orphaned gosling, which she names Brightbill. Together they struggle to survive the harsh environment, but only succeed with the help of a close-knit group of misfit animals, who become first friends, then family. Ultimately Roz and company save the island from a robotic invasion by Roz’s manufacturer, looking to bring her back to civilization by any means necessary. In the process she becomes something much more than she was programmed to be, a ‘wild robot.’
With themes of overcoming one’s pre-programmed ‘destiny,’ embracing life and parenthood, the film “celebrates what it means to be wild and alive, and how cooperation is the key to survival in a harsh world.”
Sanders directs from a screenplay he adapted from Brown’s book, reuniting with Dean DeBlois (How to Train Your Dragon, Lilo & Stitch) and teaming up with Jeff Hermann (The Boss Baby: Family Business, Kung Fu Panda 3) as producers. The core creative team also includes production designer Raymond Zibach (Kung Fu Panda 1, 2 and 3), head of story Heidi Jo Gilbert (Puss in Boots: The Last Wish, The Croods: A New Age) and editor Mary Blee (The Boss Baby: Family Business, How to Train Your Dragon: The Hidden World).
Official competition selections for the 46th Clermont-Ferrand International Short Film Festival have been announced. Organizers note that the record-high number of submissions this year forecasts a “return to normal” with production picking up after years of COVID challenges. More than 9,400 films were entered for consideration from around the world, including 2,000 French productions. The festival will take place February 2 to 10.
Grand Prix winners of the Clermont-Ferrand International and National competitions qualify for the Academy Awards short film categories.
In the International Competition, audiences can discover 66 films hailing from 52 countries — including the following animated projects:
Almost Forgotten | Miguel Lima, Dimitri Mihajlovic | Portugal
Beautiful Men | Nicolas Keppens | Belgium, Netherlands
A Crab in the Pool | Alexandra Myotte, Jean-Sébastien Hamel | Canada
Ghost of the Dark Path| Fish Wang | Taiwan
Matta and Matto | Bianca Caderas, Kerstin Zemp | Switzerland
Miisufy | Liisi Grünberg | Estonia
Wander to Wonder | Nina Gantz | Netherlands, France, Belgium
The Miracle| Nienke Deutz | Belgium, France, Netherlands
Nun or Never! | Heta Jäälinoja | Finland
Villa Madjo | Elen Sylla Grollimund | Belgium
The Waiting | Volker Schlecht | Germany
Showcasing French creativity, this year’s National Competition received 1,957 entries, including far-flung co-productions with Colombia, Morocco, Japan, Quebec, Belgium and others. Only 2.3% of the submissions made the cut of 45 films. Animated fiction and documentary competitors include:
Clermont-Ferrand also disclosed the films in the Lab competition section, which will spotlight the work of social and political activist filmmaker Chris Marker and the return of up-and-coming Taiwanese director Pang-chuan Huang to the festival. Animation in the spotlight of this section includes:
Alien0089 | Valeria Hofmann | Chile, Argentina
All Gucci My Broski | Harry Plowden | U.K.
The Choolers: Fish & Meat | Monsieur Pimpant | Belgium
Crunchyroll announced today that it has acquired the theatrical rights for the new anime film GREAT PRETENDER razbliuto. Crunchyroll and Sony Pictures Entertainment will bring the film to select theaters in the United States for a special two-day event on January 9 and 10.
GREAT PRETENDER razbliuto marks the first feature film in the popular GREAT PRETENDER anime series, which debuted to critical acclaim in 2020. This film serves as a standalone story following Dorothy, the con artist who targets other con artists, as she masterfully maneuvers her way through Asia, all the while facing an unexpected threat.
Synopsis: It’s been three years since WIT Studio captivated the world with the dizzying tricks and ingenious scenarios that emerged from the GREAT PRETENDER series. Now, this all-new action-adventure film follows Dorothy, the self-proclaimed genius con artist who recruited the infamous Laurent Thierry to the life of crime. This time around, she has been defeated at her own game by the Shanghai Longu Bang and is thought to be dead, but she soon reemerges in a small seaside village. Pursued by the underworld of Taipei, she heads to Kyoto, but what will she find waiting for her there…?!
This story is once again directed by Hiro Kaburagi, who is also responsible for the character design, with animation production from WIT Studio (Attack on Titan Seasons 1-3, Vinland Saga Season 1 ). The film is produced by Hitoshi Ito (MIRAI, Star Wars: Visions “The Ninth Jedi”) and script supervision by Ryota Kosawa (Always: Sunset on Third Street, Air Bound).
Participating Theaters: Alphabetical by city.
Cinemark Pflugerville 20 and XD (Austin, TX)
Cinemark Egyptian 24 and XD (Baltimore, MD)
AMC Boston Common 19 (Boston, MA)
AMC River East 21 (Chicago, IL)
AMC Northpark 15 (Dallas, TX)
AMC Westminster Promenade 24 & IMAX (Denver, CO)
Consolidated Ward Theaters with TITAN LUXE (Honolulu, HI)
Cinemark Jordan Landing 24 and XD (Salt Lake City, UT)
Santikos Entertainment Casa Blanca (San Antonio, TX)
AMC Mission Valley 20 (San Diego, CA)
Regal Stonestown Galleria (San Francisco, CA)
Cinemark Century Great Mall 20 XD and ScreenX (San Jose, CA)
AMC Orange 30 (Santa Ana, CA)
Regal Meridian (Seattle, WA)
The GREAT PRETENDER series follows the story of pickpocket and scammer Makoto “Edamame” Edamura. After swindling a seemingly clueless tourist, Laurent Thierry, Makoto discovers that he was the one tricked — and the police are now after him. While making his escape, he runs into Thierry once again, happens to be a fellow con man, and the two flee to Los Angeles. Jumping from city to city, the anime follows Makoto, Laurent and his colorful associates in the world of international high-stakes fraud.
Premium film format producer / cinema tech outfit CJ 4DPLEX and animation studio Illumination (The Super Mario Bros. Movie;Minions, Despicable Me, Sing franchises) announced today that Illumination’s action-packed new original comedy, Migration, will be the first-ever major 3D animated feature to premiere worldwide in the 270-degree panoramic ScreenX format. The release marks ScreenX’s first global release for a major studio animated feature.
Migration will open in North American territories on December 22.
“We’re thrilled for Illumination fans to take flight in ScreenX’s panoramic theaters” stated Niels Swinkels, EVP & MD, Universal Pictures International. “The breathtaking visual scale and scope of Migration, with its epic action set pieces, made this the ideal film to share with audiences in ScreenX. We look forward to partnering again with CJ 4DPLEX on other movies that work within their cutting-edge premium formats.”
In ScreenX, audiences are in for an elevated, multi-projection cinematic experience as they watch Migration’s Mallard family set out on a funny, feathered family vacation like no other. While dad Mack (Kumail Nanjiani) is content to keep his family safe paddling around their New England pond forever, mom Pam (Elizabeth Banks)is eager to shake things up and show their kids the whole wide world. After a migrating duck family alights on their pond with thrilling tales of far-flung places, Pam persuades Mack to embark on a family trip, via New York City, to tropical Jamaica. Their well-laid plans quickly go awry, and the experience will inspire them to expand their horizons, open themselves up to new friends and accomplish more than they ever thought possible, while teaching them more about each other — and themselves — than they ever imagined.
Migration in ScreenX
“Illumination has delivered a fun, action-packed film for the whole family, and we’re excited to have Migration mark the first major animated film to debut globally in ScreenX history,” said Jongryul Kim, CEO of CJ 4DPLEX. “As our ScreenX network continues to grow, we’re delighted to expand our offerings to include animated films.”
Directed by Oscar nominated filmmaker Benjamin Renner from a screenplay by Emmy winner Mike White, Migration is produced by Illumination founder and CEO Chris Meledandri. CJ 4DPLEX collaborated closely with the Illumination creative team to design expanded film sequences exclusively in the ScreenX format, which extends these moments of the film onto the left-and-right-side walls of the theater.
“CJ 4DPLEX worked with Illumination to develop specific, expanded sequences of Migration especially for ScreenX, and the final result is amazing,” said Don Savant, CEO, CJ 4DPLEX America. “In ScreenX, families from around the world will get to witness even more of the cinematic animated magic that Illumination and director Benjamin Renner crafted for Migration and we can’t wait to share this incredible journey with audiences.”
Migration will be available across ScreenX auditoriums worldwide. Tickets are on sale now at participating theaters.
The holiday season wouldn’t be quite the same without a beautifully crafted, 2D animated special from our friends across the Pond. This year, the talented team at Lupus Films, which are best known for quality projects such as The Snowman and the Snowdog, Ethel & Ernest and The Tiger Who Came to Tea, have prepared another charming present for Channel 4 audiences. The new special, Mog’s Christmas, is based on a series of popular books by Judith Kerr (which started with Mog the Forgetful Cat in 1970 and ended with Mog’s Birthday in 2020).
‘I was inspired by the success of hand-drawn family animated specials like The Snowman and wanted to produce films like that.’
— Producer Ruth Fielding
In the new special, which is directed by Robin Shaw, written by Joanna Harrison and produced by Lupus co-founders Ruth Fielding and Camilla Deakin, the beloved family cat feels a bit ignored and scrambles onto the roof when house guests and giant Christmas tree arrive. The stellar voice cast includes Adjoa Andoh, Benedict Cumberbatch, Miriam Margolyes and Claire Foy.
Fielding, whose many animation credits include The Snowman and the Snowdog, Ethel & Ernest and We’re Going on a Bear Hunt, says she and her team were looking for another Judith Karr tale to adapt for animation after they delivered The Tiger Who Came to Tea in 2019. “The Mog books seemed to be the obvious choice for a family audience,” she says. “Channel 4 felt the same way and commissioned us to adapt the book Mog’s Christmas into an animated film. The special was animated and produced in our studio in London with some people working remotely but the majority in the studio. It took us 18 months from script sign off to delivery.”
Feline Trouble: A beloved family pet goes missing on the big holiday in the new animated special ‘Mog’s Christmas,’ based on Judith Kerr’s popular books.
Lovingly Crafted in 2D
According to director Robin Shaw, who also worked on The Tiger Who Came to Tea and We’re Going on a Bear Hunt, the project employed 63 animators and artists. “They all used TVPaint, which is by far the most versatile software for this kind of traditional, hand-drawn 2D animation, he notes. “It enables you to draw everything from the boards to backgrounds in full color and see the finished frame as it will end up on screen. As a result we can concentrate on the animation and the drawing, rather than the compositing, something which I think is key for keeping that stylistic link with Judith Kerr’s books.”
Shaw says he loves the way the main character Mog’s inner voice and thoughts are foremost in the book and the whole series. “All the stories are told very much from her point of view,” he says. “I really ran with that idea and tried to visualize the weirdness of humans and their Christmassy goings-on as seen through her eyes. It allowed me to do everything — from having a marching Christmas Tree to making some of the characters more extreme and funny than they might have been were we watching the story play out through human eyes.”
Behind-the-scenes at Lupus Films Animation Studio, the production team behind ‘Mog’s Christmas.’
The special’s animation style closely follows the book’s original illustration style. “There’s an awful lot of skilled frame-by-frame brushwork that goes into the animation,” notes Shaw. “If you try to leave a detail out here or there, the artwork very quickly stops looking and feeling like Judith Kerr’s drawings. That’s why a lot of time was spent working out how we could replicate her characteristic brush-and-ink work.”
He adds, “For the interiors — just as I did with The Tiger Who Came to Tea — I’ve used the white of the page in the same way that Judith Kerr did; for simple, clear and fun storytelling in a domestic setting. Most of the film is set outside, however, and I’ve really tried to conjure up the spirit of London getting ready for Christmas and the beauty of snow falling on city streets at night.”
One of the main challenges for Shaw and his team was maintaining a balance between the story being all about Mog whilst allowing room for all of the humans around her to have their own characteristics and moment in the spotlight. “We need feel like we know them all and belong with them as much as she does,” Shaw points out. “On a practical level, I’d say the most difficult thing was — as it always is — staying true to such a specific style of illustration. With this kind of work every little detail counts, from Judith Kerr’s use of perspective and composition to the way she mixed media in a single drawing; it all needs respecting and following at every stage in the production.”
‘One of the themes in the film is a sense of belonging, and I’d love it if people watched the film and felt as though, in that moment, they all belonged with each other.’
— Director Robin Shaw
Not surprisingly, both Fielding and Shaw mention Channel 4’s beloved 1982 adaptation of Raymond Briggs’ The Snowman when asked about some of their favorite animated works of all time.
“Growing up, Camberwick Green and Trumpton were two British favorite series of mine, but I also loved the comedy of Hong Kong Phooey and Scooby-Doo,” says Fielding. “It was only when I was working at Channel 4 in my late twenties that I discovered the artistic mastery of Raymond Briggs’ classics like The Bear and The Snowman. I was inspired by the success of these hand-drawn family animated specials and wanted to produce films like that.”
In the Footsteps of The Snowman
Shaw says he grew up on a diet of beautifully crafted, handmade animated series like Ivor The Engine, the original ’70s version of Paddington Bear and The Snowman. “The way I could see and enjoy how they were made inspired me to go off and draw and make my own things,” says the director. “That has never left me. As an adult I discovered the work of people like Yuri Norstein, which captured me in exactly the same way.”
The director and producer of Mog’s Christmas both hope their show will add to the viewers’ holiday cheer this month. “I hope audiences will come away feeling like they’ve all really enjoyed something together,” says Shaw. “One of the themes in the film is a sense of belonging, and I’d love it if people watched the film and felt as though, in that moment, they all belonged with each other.”
Adds Fielding, “We hope that audiences will feel like they’ve had a big warm Christmassy hug after they’ve watched the film.”
Mog’s Christmas is slated to premiere on Channel 4 in the U.K. on Christmas Eve (December 24)at 7:45 p.m. No U.S. airdate has been announced yet.
The age-old schoolyard technique for settling any serious kid question gets an imaginative, animated interpretation in Rock Paper Scissors — the new Nickelodeon animated series created by Robot Chicken alums Kyle Stegina and Josh Lehrman. Already gaining fans on YouTube and due to make their television debut on February 12, the show is the first to be picked up from Nickelodeon’s Intergalactic Shorts Program.
The series follows big-hearted Rock, affectatious intellectual Paper and overly confident Scissors — voiced by Ron Funches (Trolls, Trolls Band Together), Thomas Lennon (Zoey 102, 17 Again, Reno 911!) and Carlos Alazraqui (Rocko’s Modern Life, Reno 911!), respectively — a trio of best friends and roommates who lovingly compete over everything in hilarious but mostly wildly absurd ways. In the original short, which will air exclusively this Christmas Day (December 25) during the Nickelodeon NFL Nickmas Game, they go from fighting over what to watch on TV to being the stars of a successful Broadway musical.
Produced by Nickelodeon Animation, the original Rock Paper Scissors short and series are created, written and executive produced by Stegina and Lehrman, with Conrad Vernon (Sausage Party) and Bob Boyle (The Fairly OddParents) serving as executive producers on the series. Development is overseen by Nickelodeon Animation’s Kari Kim, VP Animation Development, and Daniel Wineman, VP Original Animation Development. The series is overseen by executive in charge Jason Oliveri.
The show’s creators recently took a quick recess break to answer a few questions about their energetic new comedy toon for us!
Animation Magazine: Can you tell us a bit about how you came up with the idea for the show?
Josh Lehrman: Most of our projects come from long brainstorming sessions where Kyle and I ask each other, “What are we going through in our lives?” or “What themes do we want to explore?” This idea came to me in the shower.
Kyle Stegina: Josh came to my apartment and said, “How about a show starring Rock, Paper and Scissors. They’re roommates, and they’re competitive over everything?” It just made me laugh. It’s such a simple and fun premise that anyone can get on board with and, truthfully, the ideas you can pitch in one breath and visualize immediately are often the best ideas.
Josh: Or the dumbest ideas.
Kyle: And this show is a mix of both — in the best way.
What do you love about these characters and what do you think makes the show stand out?
Kyle: I really love Rock, Paper and Scissors’ unique friendship: equal parts love and bickering. One minute they’ll be knitting a three-person friendship blanket or doing synchronized dressage, and the next minute they’ll be fighting and yelling over each other. We think that balance is a pretty realistic portrayal of friendship that you don’t see a lot of in kids’ TV.
Josh: And I think one of the things that makes the show stand out is the unpredictability of the storytelling. Because this show isn’t bound by many rules, we can really go anywhere and do anything.
Kyle: Yeah, we have an episode that takes place over the course of 50 years and another episode that takes place entirely in Scissors’ head.
Josh: I’ll add, too, that I love when we take a really silly idea and build it to a surprisingly emotional moment at the end. We do it sparingly, and I won’t give away any episodes, but I think viewers will be moved by some episodes this season.
How did you put the terrific voice cast together?
Josh: Oh man, we got so lucky with the cast.
Kyle: Yeah, we essentially got our first choice for everybody.
Josh: I remember, in the early stages of development, Nickelodeon asked us who we wanted for the trio. And in the car ride back to one of our places, we pitched Ron Funches for Rock and Thomas Lennon for Paper. Scissors took us a little more time to figure out because we needed to find someone who could be a jerk and be vulnerable, but then we thought of Carlos Alazraqui because we worked with him on an episode of a Comedy Central show we wrote, and he really elevated the role.
Kyle: Also, he was Rocko.
Josh: That, too. Kyle and I were big Rocko’s Modern Life fans when we were kids.
Kyle: And all three of them said yes. The talent we’ve gotten on this show is still surprising to us — even for the recurring roles.
Josh: Yeah, Melissa Villaseñor is wonderful as Pencil, and there was no one other than Eddie Pepitone for Lou.
Kyle: We wrote the part for him.
Josh: We didn’t tell him that, though, because we didn’t want it to come out wrong.
Kyle: Like, “Hey Eddie, we wrote this miserable, talking garbage can with only you in mind!”
Can you describe the visual style and designs of the show?
Kyle: Our show uses semi-photorealistic backgrounds with 2D cartoony characters, and it’s such an inviting contrast that’s just fun to watch.
Josh: And by the way, most of the credit for the visual style goes to Amanda Li and Paul Watling. They worked on the pilot presentation with us when this show was in development and crafted the initial look. Then two more amazing artists, Bob Boyle and John Won, came on and perfected the style when we started the series.
Kyle: Also, we were very ambitious in series with how many places our characters go, and the background designers worked tirelessly to deliver on everything.
Josh: Again, I won’t give away any episodes, but there are several where Kyle and I saw the backgrounds in a design meeting, and they were so beautiful we were like, “What is this doing in our show? This belongs in a museum!”
The Intergalactic Short TV Time airs December 25 at 1 p.m. PT / 4 p.m. ET ahead of the series premiere of Rock Paper Scissors on Nickelodeon on Monday, February 12 at 5:30 p.m. ET/PT. New episodes will continue to air weekdays at 5:30 p.m., with international roll-out later in the month.
Shorts and clips starring the titular trio and their friends are now available on the Nicktoons YouTube channel, as well as full episodes.
Eight-time Emmy Award winner Andrea Romano further cemented her reputation as an outstanding voiceover director in animation history on Sunday night when she was inducted into the Children’s & Family Emmys’ inaugural Silver Circle during a ceremony at the Westin Bonaventure Hotel.
The Silver Circle recognizes those professionals who have performed distinguished service within the television industry for 25 years or more. Beyond their longevity, they are honored for making an enduring contribution to the vitality of the television industry and for setting standards of achievement the rest of the industry hopes to emulate. These honorees also give back to the community as mentors, educators and volunteers.
“This industry was given me so much, from wonderful relationships with actors and marvelously creative individuals throughout the animation world, to a lifetime of incredible memories and fulfilling work,” Romano said. “I’m so flattered that, five years after I’ve retired, people are still acknowledging my contributions, and I’m truly honored to be inducted beside such an illustrious group — including the people who produced Sesame Street and Mr. Roger’s Neighborhood — into the inaugural class of the Silver Circle.”
Romano’s prolific career canon includes the voice direction (and often casting) for more than 40 television series, over 50 films and TV movies, 20-plus video games and a handful of shorts. Her series work alone has accounted for the dialog direction of more than 1,600 episodes. Romano, who has personally directed more than 10,000 voice sessions, was afflicted with optic neuropathy in one of her eyes, causing blindness in that eye. She subsequently retired in 2017.
Romano made her mark in every genre of animation — from orchestrating the casting and voicing of 23 different DC Universe Original Movies and the bulk of Warner Bros. Animation’s legendary animated TV series like Animaniacs and Batman: The Animated Series to more recent hits like Teenage Mutant Ninja Turtles and Voltron: Legendary Defender to guiding the voices of longtime sensations SpongeBob SquarePants and Avatar: The Last Airbender, to working across the globe directing the international casts of animated feature films and TV series.
The prolific and in-demand director has been nominated for Emmy Awards a total of 35 times. In 2016, the International Family Film Festival honored Romano with the prestigious Friz Award for Excellence (named for animation legend Friz Freleng). In 2018, ASIFA Hollywood presented Romano with the Winsor McCay Award, one of the highest honors given to an individual in the animation industry in recognition for career contributions to the art of animation.
As previously announced, the inaugural honorees for the Gold and Silver Circles also included animation luminaries Fred Seibert (Adventure Time, The Fairly OddParents | Gold Circle), Ellen Doherty (Cyberchase, Donkey Hodie | Silver Circle), Carol-Lynn Parente (Sesame Street) and Tom Ruegger (Animaniacs, Tiny Toon Adventures). See the full list here.
L-R: Gold and Silver Circle 2023 inductees Tom Ruegger, Vicki Ariyasu, David Kleeman,, Ellen Doherty, Fred Seibert, David Newell, Carol-Lynn Parente, Andrea Romano and Tara Sorensen.
