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Cartoons! Vol. 3 Issue 6 SeptemberSeptember 19981998 Television & Post-Production Corto Maltese Comes to TV WhatÕs New on the Tube? Disney Television and Archives Animation International Dubbing Writers Unite TABLE OF CONTENTS SEPTEMBER 1998 VOL.3 NO.6 2 Table of Contents September 1998 Vol. 3, No. 6 4 Editor’s Notebook Expanding television... 5 Letters: [email protected] 6 Dig This! Complicated computers are used to simulate the simple cut-out animation technique on South Park and Blue’s Clues. TELEVISION 8 Tooning in the 1998 Fall Season Joseph K. Bevilacqua highlights what’s new in animation for the U.S. 1998/99 television season, from CBS to Cartoon Network. 1998 17 Disney’s Little Big Screen:Turning Animated Features Into TV Series Like clockwork, Disney’s big screen adventures turn up on television. Mike Lyons reveals the mechanism behind this marketing plan. 20 The Color In Mind: Corto Maltese Europe’s favorite adventurer, Corto Maltese, is coming to television town. Russell Bekins investigates how Hugo Pratt’s graphic novels are being adapted. Includes a Quicktime movie. 25 Giuseppe Laganà and Animation in Italy: Rebuilding an Industry Russell Bekins takes us inside Giuseppe Laganà’s Italian studio, Animation Band, Ellipse’s production part- ner on Corto Maltese. 27 Better For All Concerned:The Writers Guild of America’s Animation Writers Caucus Hot on the heels of a major break through, Craig Miller discusses the goals of the Animation Writers Cau- cus. 31 Waste Management in Animation Laws have been made and the environment should be on everyone’s mind. Environmentalist Lesli Rynyk explains the Canadian Waste Management Act and subsequent Animation Waste Management Plan designed to decrease waste at Canuck Creations. POST-PRODUCTION 35 International Theatrical Dubbing: It’s More Than Meets the Eye Debra Chinn outlines the unsung world of international theatrical dubbing. Getting Anastasia to sing in 28 languages is no easy task...Includes a Quicktime movie. 39 3D Meets Reality! EPTEMBER Compositing 3D elements into live-action footage is a very important facet of post-production. Bill Flem- ing instructs us on how to get it just right. OTHER S 44 Here’s A How de do Diary: June What’s going on with Barry Purves and his Channel 4 production? Find out in this month’s installment. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE September 1998 2 TABLE OF CONTENTS SEPTEMBER 1998 VOL.3 NO.6 THE STUDENT CORNER 48 Roots:An Experiment in Images and Music Bärbel Neubauer divulges her creative process and discusses the production of Roots, an experimental film mixing images and sound. Includes a Quicktime movie. FESTIVALS, EVENTS 50 Comic-Con:Where Comics Are King Pete Nicholls traveled to San Diego to report on Comic-Con in a year when comics reigned and anima- tion was strangely missing... 52 Anima Mundi:The Audience is Key Edmundo Barrieros relays the events of Brazil’s Anima Mundi, possibly the world’s most energetic and enthusiastic festival. FILMS 54 The Film Strip Tells All 1998 William Moritz discusses Richard Reeves’ Linear Dreams and Bärbel Neubauer’s Moonlight and helps to put them in perspective. Includes Quicktime movies of both films. SOFTWARE 57 Dreamweaver is Pretty Darn Dreamy Macromedia’s Dreamweaver impressed Dan Sarto. Read on for why this web authoring tool is hard to beat. 60 Fireworks: Does it Have a Special Spark? Webmaster Ged Bauer gives Macromedia’s Fireworks a try to determine whether it is the “all-in-one-be-all- end-all” web graphics application that it claims to be. HIDDEN TREASURES 62 Inside Disney:The Archives and Animation Research Library Katie Mason interviews the folks behind preserving Disney’s history and artwork at the Walt Disney Archives and Animation Research Library. NEWS 66 Animation World News Writers Make Prime-Time Pact With Fox, Anne Sweeney Tops Disney/ABC Cable Networks, Fantastic Plan- et in Rotation and more... 82 On A Desert Island With. .TV Toon Talents Tony Craig, Roberts Gannaway and Pascal Morell 83 Next Issue’s Highlights This Month’s Contributors EPTEMBER Cover: Corto Maltese will come to television for the first time as an animated series. Learn more in Rus- sell Bekins’ article, “The Color In Mind: Corto Maltese.” © Ellipse Program/Imedia/ConG. All Rights S Reserved. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE September 1998 3 by Heather Kenyon Expanding television... have long feared Caucus.”There is an the inevitable reces- ongoing struggle ell, the fall season is sion. First the between artists and upon us once again. The expansion was in writers that is unique Wmost notable mark this features, then it was to animation and that year is the expansion of animation in home video, has been heightened into prime-time. While The Flint- now it is in prime- in the last few years. stones started the world of prime- time animation. We Some shows are time animation, no one has have been saved heavily writer-based, revived it, and profited from it, like from heavy reces- causing storyboard Fox. Ready to expand its current sions and have artists to feel very put- success, Fox is adding three prime- experienced out indeed. Still, time shows this year: Futurama, growth due to new other shows let the Family Guy and The PJs are all outlets continually opening up. artists have their way...and some- being introduced mid-season. Prime-time could be our next sav- time these shows wander without That’s quite an influx! However, ior and even offer another chance a sturdy foundation. With the there is more. The success of to expand. Here’s hoping these influx of live-action personnel into shows like The Simpsons, which is new prime-time shows are every- animation this misunderstanding a tremendously popular phenom- thing they are cracked up to be has only grown. Live-action folks enon whether we are talking live- and that the audience responds in often want to see the final script! action or animation, and King of kind! Not understanding that in anima- the Hill, have inspired others to This is also the second sea- tion a final storyboard is more take part in the game. Comedy son of FCC-friendly programming close to the actual final show than Central was one of the first to take in the U.S. Despite all the panic any script. Naturally, in a healthy the plunge with Dr. Katz and and suspicion that children were situation it is a blending of writing South Park. Their risks have proven going to turn away from the tube and ‘boarding that makes a suc- profitable. South Park has been a in droves, Disney and ABC have cessful product and each produc- huge victory for them, grabbing proven that pro-social program- tion needs to find its own middle the network’s highest ratings to ming can be popular—and the ground. date. Now, Bob and Margaret ratings agree. Children haven’t Kudos also go to the Walt promises to be another, albeit less turned off. In fact, good shows are Disney Company for avidly pre- crude, hit. Furthermore, with just plain good shows and if the serving their history. There is no almost simultaneous Canadian, stories and characters are engag- doubt that when we consider ani- U.K. and U.S. distribution Bob and ing, children will watch and, hey, mation we have to discuss Disney. Margaret could be an internation- maybe even learn something. I’d like to thank them for seriously al success early in its airing career. The Writers Guild of Ameri- archiving their history and art- Now even NBC, a major U.S. net- ca’s Animation Writers Caucus also work. These materials are a work, is getting involved by airing deserves congratulating this tremendous resource, not only to the U.K.’s Stressed Eric. What is month as they have struck a deal Disney historians, but all anima- interesting to note is that instead with Fox’s prime-time schedule to tion scholars. To learn more about of Bob and Margaret and Stressed represent the network’s animation their collections, please read Katie Eric being spawned in the U.S. writers, offering them a new Mason’s “Inside Disney: The and then distributed globally, round of benefits. Long under the Archives and Animation Research these are co-production deals that artists’ MPSC banner, this signing Library.” are bringing these shows to multi- delineates a shift as explained by ple, international outlets at once. Craig Miller in his article “Better For Until next time, We have long heard of the All Concerned: The Writers Guild Heather booming animation field and we of America’s Animation Writers ANIMATION WORLD MAGAZINE September 1998 4 [email protected] The Animated Film Collector’s tion values of what Mr. Beck has still return to China on a regular Guide Clarification listed, I think both these books basis to conduct business for ani- In his review of my book, would be helpful. One is How to mation. I am thrilled every time I The Animated Film Collector’s Draw Animation Storyboards by return to cities like Shanghai. Guide (Townsend 3.5) Emru Bob Singer, published by Comic I want to thank you for Townsend states that it “aims to be Art Publications.
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