Industry Report: Animation
- Articles, interviews and special reports about the European animated film market
European animation is a thriving audiovisual sector that regularly produces
In this section, Cineuropa gathers together articles, interviews and special reports about the European animated film market.
14.7% of European admissions went to animation films in 2014 One fifth of admissions to animation films in Europe goes to European productions 50 animation films were produced in Europe on average a year between 2010 and 2014 300 children's channels established in the EU and specific on-demand services for kids on the rise The European Audiovisual Observatory presented the first results of the Mapping of the Animation Industry in Europe study, funded by Creative Europe, during the MIFA...
The Training for Trainers event opened on Thursday 18 May with the presentation of Tim Wescott , researcher at Screen Digest and author of «The Global Animation Industry», a report covering up to 2009 the production of feature films, televi¬sion series, DVD and Internet markets in several key territories (US, Canada, Australia and the big 5 European countries).
Over 700 participants from 19 countries, 66 projects representing no fewer than 468 hours of animation for a total production budget of €215,395,000: those are the big figures from the 22nd edition of Cartoon Forum. Every year, this event brings together people from the world of animation (producers, broadcasters and investors) for a gathering that promotes cross-border contacts and a speeding-up of financing on a multitude of projects in development for the TV market and cross media.
Arne Lohmann is in charge of the international co-production for the ZDF Group, a broadcaster based in Frankfurt (Mainz, Germany).ZDF Group is nowadays one of the biggest broad¬casters in Europe, offers a variety of pro¬gramming and has joint ventures with other channels. Lohmann talked about ZDF during the Financing and Revenue Models of European Animated Series.
Guillaume Hellouin presented this French-Japanese co-production. Some software available on the market for the animation started to integrate the specific needs for stereoscopic productions. Five persons have been necessary to develop the script and the storyboard. "Errors in the storyboard in a stereoscopic film are much more expensive than errors in traditional productions."
Finnish producer Petteri Pasanen explained the strategy for finding effective coproduction partners. It took 3 years and a half to develop and finance the film (slightly over 6M€, the most expensive Finnish film ever) and 16 months to produce it. "In Finland there were just a few financiers who believed in us."
French distributor Roch Lener detailed the distribution strategy for the film in France. The film had been positioned for a family audience and precisely children between 4 and 10 years old. The communication has been done on two targets: children and parents, and the film was released 2 days before the beginning of Christmas holidays.
Carlos Biern Lliviria, director of co-productions at BRB Internacional, presented the case of his company, a Spanish firm open to international co-productions and co-operations, and the Spanish animation industry, a small but vibrant market.
Frédéric Thonet presented the connections between video games and animation. Ubisoft is now developing animated series based on its own games and is looking for new partnerships with animation studios. This strategy is not simple: «the game developers do not have a cinematographic culture, we have to train our staff to acquire this culture that is not usual in video games».
Christophe Maridet, General Manager at Disney Interactive Studios, explained why the in house game activity is growing within the Disney Group. The games are generally released at the same time as the movies. He explained the importance of being multiplatform and understanding the audience's habits.
Carlos Astorqui, Vice President Marketing of Ilion Animation Studios, explained the way a video game developer like Pyro Studios created an animation company and developed a first animated film, Planet 51.
“The film combines documentary accounts and lyrical narrative”, explained Roiy Nitzan. There are scenes in real images before Waltz with Bashir morphs into an animated feature. This unique blend makes Waltz with Bashir a quasi-experimental film and a prototype of a genre: cartoon documentary.
Eric Jacquot presented the compatibilities between the Belgian and French tax shelters. With a reduced staff based entirely in France and Belgium, Blue Spirit is able to finance low budget series assembling broadcasters, public national funds, regional subsidies, tax shelter and minima guarantees for international and video sales.
Steve Aranguren presented the Disney Channel’s strategy in Europe. Disney has an ambitious slate of regional production across Europe. Steve presented several case studies and explained Disney’s goal to create entertaining programming with local connection.
In 2008, the International Animated Film Festival was focusing on the future of the 3D pipelines, Internet, visual effects, the rising of India, low cost features and on motion capture. Sum up of the questions on artistic, technical and economical aspects, asked during the last Festival (10-13 June).
Paco Rodriguez, executive producer and director of Filmax Animation, talked about the production process of the animation movie Nocturna: "The first thing you have to think is how you’re going to maintain the balance between the 3 most important points in production: artistic elements, money and time."
Producer Irene Sparre Hjorthøj and executive producer Per Holst talk about their work as animation producers: the difference between 2D and 3D movies, the collaboration with the co-production partners, the importance of marketing and communication when making a movie.
Marc du Pontavice talks about the creative choices, the production model and the financement of the first animated feature film produced by his company, Go West, adapted from the famous comic books "Lucky Luke".
In March 2007 Murcia (Spain) hosted the Cartoon Master, European Association of Animation Film. Reform to perform: how will technological changes modify the job of animation professionals? was the theme of that session. Animation industry professionals have unveiled the latest advances in the New Digital World.
During the event, organized by CARTOON with the support of the MEDIA Programme and Bayerische Staatskanzlei, participants exchanged ideas on how to boost sector growth and adapt to the new audiovisual map that has emerged following the appearance of new media operators (on VOD, mobile phones, internet, IPTV, etc.) and the change in the audience viewing habits.
The producer presented at the Cartoon Master in Murcia (April 2009) the key reasons of the success of the cartoon web-series “Angy Kids”, his view of the future of digital content, and the changing environmnet producers are working
Simon Vanesse (BUF), Olivier Mitonneau (Mikros Image), Greg Fischer (The Moving Picture Company) and Ziah Fogel (Double Negative) discuss on the links between visual effects, animation and live action