In nuce: The 29th Stuttgart International Festival of Animated Film (ITFS for short) ended the week before last. This was the first time that the festival was held as a hybrid event. This is according to a recent press release. After three years, the ITFS was once again able to take place on location at numerous venues – including Stuttgart’s Schlossplatz, the local city centre cinemas and the Hospitalhof.

The winners: The highlight was the grand awards ceremony, which concluded the international event after six packed days. The Grand Prix (major animated film prize of the state of Baden-Württemberg and the city of Stuttgart), the Lotte Reiniger Award for Animated Film, Young Animation, AniMovie, Trickstar Nature Award and the FANtastic Award were awarded. At the SWR OnlineFilm Audience Award, the audience voted for their favourite from all the ITFS 2022 entries.

Other winners: The winning team of the Crazy Horse Session – 48H Animation Jam was announced on Sunday afternoon. The winners of the Animated Games Award Germany, German Animation Screenplay Award and Trickstar Business Award had already been presented at the Trickstar Professional Awards on 4 May and the Tricks for Kids Award on 7 May.

The winners at a glance: If you want to get an overview of the winners, including the jury’s reasoning, we recommend clicking over to itfs.de .

The ITFS in figures: Although the number of visitors to the ITFS 2022 was lower than in 2019, this was offset by the large number of online guests. To date, the organisers have recorded around 10,000 views in the associated online media library. A total of 20,000 views are expected by the end of the online programme. Around 20,000 viewers were present in the cinemas and at the various venues.

An outlook: The next Stuttgart International Festival of Animated Film will take place from 25 to 30 April 2023.

The post The 29th Stuttgart International Festival of Animated Film – a mega-success? first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: Under the title “Greater commitment and new funding initiatives for German animated film for adults and artistic talent!”, the managing directors of the Film and Media Festival and the managing directors and chairwomen of the AG Animationsfilm have issued a press release which – in the form of a commentary – takes a critical look at the status of animated film in Germany and argues in favour of funding for animated short films. The four signatories are Prof Ulrich Wegenast (Artistic Director of the Film and Media Festival), Dieter Krauß (Commercial Director of the Stuttgart International Festival of Animated Film), Annegret Richter (Managing Director of the Stuttgart International Festival of Animated Film) and Fabian Driehorst (Chairman of the Board of AG Animationsfilm e. V.). Below is the text in full length. For better readability, we have added subtitles to the text.

The unabridged press release follows.

So why are there no feature-length films in the adult section from Germany? The way the Best Animated Film category was announced at the Academy Awards this year showed that animation for adults is still not taken seriously. And this despite the fact that “Flee”, a film explicitly aimed at an adult audience, was nominated at the 2022 Oscars! It is true that most animated films are made in the children’s film and family entertainment sector and are very successful. German animated films also regularly achieve box office success abroad, both in the cinema and on VOD platforms. But animation can do so much more. It enables innovative, artistic and creative design, different perspectives and forms of presentation that cannot be realised in real film. We believe that Germany has the potential for exciting stories in the adult sector. This is demonstrated by the international success of German short films, which are generally not children’s films. AG Animationsfilm and ITFS ask themselves: So why are there no feature-length films in the adult sector from Germany?

Animated films with adult themes – also from Germany? Animated films for adults have been celebrating great success with audiences and critics abroad for years. Films such as “Waltz with Bashir”, “Persepolis”, “Isle of Dogs”, “The Breadwinner” or “Flee”, which was recently nominated for three Oscars, show that animation can also tackle more serious themes and tell complex stories for an adult audience. Above all, the hybrid form of animated documentary film is gaining more and more audiences, as it allows socially relevant and political topics, such as war, persecution, flight or homosexuality in a homophobic environment, to be presented in an abstract, anonymised and yet captivating way. Unfortunately, German production companies only play a minor role in these productions – if at all! However, this is not due to a lack of interest or a lack of material from German production companies, as the annual submissions to the German Animation Screenplay Award of the Stuttgart International Festival of Animated Film (ITFS) and the Animation Production Days show.

Film funding for Germany as a centre for animation? What is needed is a much greater willingness on the part of television broadcasters and film funding organisations to support animated material for an adult audience. For example, not placing animation exclusively in the children’s sector, but rather in the entertainment sector of public broadcasters, would open up other budgets, themes and opportunities. And German distributors would also have to show more courage for ambitious animated films. These changes would also sustainably enrich the production landscape for animation in Germany, as the portfolio of many production companies, which is usually limited to children’s series and cinema films, would be significantly diversified by other themes. This form of diversification would not only be an economic one, but of course also a cultural one in terms of content, as the variety of themes of the films mentioned above makes clear. Greater support for animated films for adults would strengthen the important social relevance of animation and would therefore also be a stabilising factor for democracy, as animated films, unlike documentaries, often reach a new audience through their unique narrative style, aesthetics and visual language and can often be used over a longer period of time. Series such as the Amazon production “Undone” by Dutch animator Hisko Hülsing – an animation artist who is a regular guest at the ITFS with his short films – show that animation for adults does not have to be a niche product, even in series. The second season of “Undone” was released on Amazon Prime in 240 countries and territories on 29 April 2022.

Is German animated film (for adults a niche existence)? Overall, it is striking that it is not only on the major platforms such as Amazon Video or Netflix, e.g. with the stop motion project “The House”, which will be presented at this year’s ITFS, that European but not German animated film for adults is very successful! At this year’s ITFS, not only the above-mentioned Danish production “Flee” will be shown in the feature film competition, but also the Czech-Slovak-French production “My Sunny Maad”. The film “The Odyssey” can also be seen at this year’s ITFS. Although there is German production involvement here, the wonderfully picturesque story about flight and displacement bears the clear signature of French director and animator Florence Miaihle in terms of content and aesthetics.

The European Film Awards – A summary: The strong presence of adult material and themes in European animated film is also reflected in the European Film Awards, which have been presented since 2009: of the 13 awards presented to date, ten prizes have gone to animated films for adults – including “L’Illusioniste”, “Chico & Rita”, “Alois Nebel”, “The Congress”, “Loving Vincent” and most recently “Josep” (2020) and “Flee” (2021). None of these were explicitly German animation productions, but only in the case of “Alois Nebel” productions with a small co-production share from Germany! How can that be?

Funding tools, initiatives & promotion of young talent – is it enough? It would be too easy to blame this disastrous result solely on the German TV stations and film funding organisations. Changes need to be made to the overall structure of the German animation production landscape and new funding tools and initiatives need to be developed. This absolutely starts with the promotion of young talent! For example, the AG Animationsfilm has been calling for years for the creation of newcomer formats on German television with adapted conditions for animated films in terms of budget and length. This also includes, for example, the establishment of medium-length formats, specials or mini-series. However, funding and broadcasters need to break new ground for this. Although festivals such as the ITFS support up-and-coming animators with the Lotte Reiniger Award – endowed with 10,000 euros – this is not nearly enough. Initiatives such as Ani:Dox from Denmark, which was involved in the development of the material for “Flee”, show that promoting young talent through prize money and programmes can certainly be successful.

German short film funding – a model for the future: This once again clearly shows that the promotion of animated films for adults begins with support for short films. For example, 90% of the animated short films produced at German film schools are aimed at an adult audience. However, this ratio is completely reversed after graduation, as – in contrast to France and other European countries – there is simply no comprehensive funding programme for (animated) short films. Such short film funding would be cost-effective and sustainable! If every German regional film funding programme were to provide an amount of one million euros per year for around ten short films, the animation landscape in Germany, as far as animated films for adults are concerned, could flourish and grow permanently in a short space of time. A significant increase in short film funding from the federal government, which currently provides a maximum of 30,000 euros per film, would also have an effect on the German animation landscape.

Artists in residence – funding for artists: In addition to quick and easy short film funding in the field of animation, “animators in residence” programmes, as we know them from the visual arts, would also be particularly helpful. Such programmes exist in France at the production company Folimage or at the Animation Workshop Viborg in Denmark and are extremely successful! Such programmes would also be a great opportunity to create stronger links between art foundations and film funding organisations, which usually operate completely separately, and to create new synergies.

An outlook: These examples alone show that, with just a few changes, it would be possible to establish an internationally relevant animation scene that grows sustainably. The talent and the material for a new animation awakening are available, as the programme of this year’s ITFS impressively demonstrates.

Click further: We last reported on the Stuttgart International Festival of Animated Film (ITFS) on 8 April 2022, when it was advertised with film and workshop offers for the little ones (and their adult followers) – including film premieres, open-air cinema and other offers at the “Tricks for Kids”.

The post ITFS decision-makers comment on Germany as a centre for animation first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: A current press release informs about the children’s film festival “Tricks for Kids”, which will take place as part of the 29th “Stuttgart International Festival of Animated Film” (ITFS). The ITFS will take place from 3 to 8 May 2022.

What can you expect at “Tricks for Kids”? The programme features international short films, animated films and animation series. The films will be screened on site in Stuttgart, and some will also be shown in the media library at OnlineFestival.ITFS.de. There will also be many workshops and hands-on activities for children.

Daily open-air cinema: The open-air cinema on Stuttgart’s Schlossplatz invites you to enjoy a cosy picnic in front of the large LED screen. A short film programme from the Tricks for Kids competitions of recent festival years will be shown daily at the open-air cinema from 12 noon. In addition, a family-friendly animated feature film will always be shown (for example “Latte Igel und der magische Wasserstein”, “Der kleine Rabe Socke”, or “Gregs Tagebuch”). The Open Air programme will be streamed live worldwide every day from 2 p.m. on the ITFS.

World premiere in the open air: the short film “Hidden Heroes” by animation studio monströös and director Anna Levinson is celebrating its premiere at the Open Air cinema this year. The film was created for “Mach dich stark – Initiative für Kinder im Südwesten”. An initiative that tackles the challenge of child poverty. The film will be shown on Wednesday 4 May at 19:45 on the open-air stage.

Further information & click on: Tickets for the ITFS are available at itfs.de . Interested parties can find out more about the film programme for “Tricks for Kids” at itfs.de. A corresponding flyer summarises the festival offer for the little ones. Daycare groups, school classes and teachers can find out more about the “School Programme”, “Dwarf Show” and “Teachers Day”.

The post Festival offers suitable for children at the ITFS! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: The 29th edition of the International Festival of Animated Film Stuttgart (ITFS) will take place this year from 3 to 8 May in (of course) Stuttgart. The ITFS, as the event is called for short, will take place partly online and partly on location. The motto of this year’s ITFS is “Black is Back”. The motto will be reflected in the event programme. Many of the offers that visitors to the ITFS can take advantage of are orientated towards simplifying, shortening and clarifying the work of animators.

Competition between young animators: The International Competition is the centrepiece of the ITFS. Young animators from around the world are honoured for their high-quality animation contributions. A distinction is made between the following categories:

• Best films by students from international media, film and art schools
• “Tricks for Kids” for the best animated short film for children
• “AniMovie” for the best animated feature film
• “Trickstar Nature Award” for the best animated short film on the topics of climate protection, biodiversity, environmental protection and sustainability
• “Trickstar Business Award” for the best business model for a project or company in the field of animation
• “Animated Games Award Germany” for the best animation-based computer game from Germany
• “German Animation Screenplay Award” for the best German screenplay for a feature-length animated film. The international market potential of the screenplay is the decisive criterion.

Small Germany and female power: one of the focal points of this year’s ITFS is Austria. Tricky Women/Tricky Realities and Ars Electronica are acting as partner festivals. As part of the themed series “Wonderwomen – Women in Games & Animation”, curated by Waltraud Grausgruber, the ITFS will shed light on how the situation for women in animated film has developed.

Up close and personal with artists: As part of the “In Persona” programme, artists will provide insights into their creative work and the development process. Other creatives worth buying an event ticket for are listed below:

• Nick Park: Oscar-winning creator of Wallace & Gromit and Shaun the Sheep
• Filmmakers Michelle and Uri Kranot (“Nothing Happens”, “Hollow Land”)
• Film producer and Academy member Ron Diamond
• Jürgen Hagler, professor at the FH Hagenberg and curator at Ars Electronica

Where does the IFTS take place? The festival will take place at several locations in Stuttgart, with additional programme items being offered online at itfs.de/events/ at the same time.

Make sure you get your tickets: According to the ITFS website, early bird tickets with a price advantage are still available up to and including today (10 March). Tickets are available for the on-site events in Stuttgart as well as tickets for the online part of the event. For both ticket offers, the early-bird price applies up to and including today, 10 March.

Click further: You can find all further information at itfs.de.

The post Discover the International Festival of Animated Film! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

FMX opens its doors at the end of this month. And there are still numerous new confirmations to be announced – animated film highlights such as Spies in Disguise and Ralph Breaks the Internet, several technology presentations on Incredibles 2 and Spider-Man: Into the Spider-Verse as well as presentations on commercials and AAA game design.

Tickets for FMX 2019 are available via the website. In addition, the FMX 2019 app for iOS and Android is now available for download.

You can register for press accreditation here.

The Art of Animation – Ralph Breaks the Internet, Spies in Disguise & Manou the Swift
In The Art of Animation track, animator Jacob Frey and crowd artist Joyce Tong (both Walt Disney Animation Studios) will talk about some of the challenges they faced when creating “Ralphzilla” for Ralph Breaks the Internet. James Williams, Head of Layout (Blue Sky Studios), will give an insight into the upcoming action-packed, buddy comedy Spies in Disguise. Andrea Block and Christian Haas (both LUXX Studios/LUXX Film) will talk about the details of their first animated CG feature film Manou the Swift.

Stylized Lighting & Rendering – Spider-Man, Incredibles 2 and the physics and chemistry of colour
Curator Christophe Hery, Research Scientist at Facebook Reality Labs, brings together four experts for the Stylized Lighting & Rendering track, who will discuss various technical and artistic means of achieving better visual effects and explore the basis of colour as a starting point for stylisation.
Bret St. Clair (Sony Pictures Imageworks) will kick off the track by examining the look development of Spider-Man: Into the Spider-Verse. Erik Smitt, Director of Photography at Pixar Animation Studios, will explain how a stylised approach inspired by live camerawork was used to create the look of Incredibles 2. Christos Obretenov, CEO and Shading Architect at Lollipop Shaders, will discuss the development of custom shading plugins that enable non-realistic shading & rendering in modern production renderers. In addition, VFX Supervisor Tarek Elaydi (Arctiq Circle) will explore the physics and chemistry of colour and how their interactions are represented in today’s path-tracing renderers.

Commercials – Football, Friendship & Love
A strong commercial draws attention to products and services by enriching its imagery with advanced design, execution and storytelling. The Commercials track at FMX 2019 presents a selection of the latest and greatest work in this field from the past year.
VFX Supervisor Adam Droy (The Mill), will give an insight into the creation of the spot Nike – Awaken the Phantom. In their presentation Wonderwoman and Chester Cheetah! Alexander Kiesl (Managing Director) and Steffen Hacker (Head of VFX, both unexpected postproduction) will show impressions of their filming in Iceland, London, Warsaw and Cairo. The creation of Penny’s Christmas Doesn’t Need Much. Only Love will be the topic of the talk by Rüdiger Kaltenhäuser (Director/Head of 3D) and Darren Macpherson (Director/VFX Supervisor & Senior 3D Artist) from Glassworks Amsterdam. Piglet Lucky, star of the VES-nominated commercial Best Friend for PETA, will take centre stage in a presentation by CG Artist/Associate VFX Supervisor Emanuel Fuchs, Animation Supervisor Bernd Nalbach and VFX Producer Francesco Faranna (all Mackevision Medien Design and alumni of the Filmakademie’s Animation Institute). Selcuk Ergen, Head of Effects at MPC Advertising, will present a behind-the-scenes look at the extensive VFX work that helped bring Ridley Scott’s otherworldly ideas to life for Hennessy’s The Seven Worlds.

AAA Game Design – exploring caves and open worlds
The AAA Game Design track – curated by Simon Jon Andreasen, Head of Animation and DADIU, The National Film School of Denmark – will highlight designers who have worked on recently released highly successful games, how they have designed them and where they see design and creativity heading in the future.
Soren Lundgaard, CEO of Ghost Ship Games, will explain how his Deep Rock Galactic team managed to create hundreds of hours of procedurally generated caves without the use of multi-million dollar budgets, keeping players engaged and challenged as they explore, scavenge and survive. Mark Estdale, founder of OM, will share how his team uses early casting to create hundreds of hours of immersive dialogue and performances for story-driven games like Horizon Zero Dawn. Curator Simon Jon Andreasen, an experienced AAA developer himself, asked friends and colleagues from the world’s leading AAA studios how they create exciting games without simply generating endless upgrades for players. In his talk Keeping it Fresh – Designing Versatile Mechanics that Never Grow Old, he will present the results of his survey.

Forum News: Epic Games, creator of Unreal Engine, is new FMX Main Partner
Epic Games, the studio behind Unreal Engine, can be announced as the new Main Partner of FMX 2019. In addition, the FMX Marketplace and the Recruiting Hub are sold out.
Epic Games/Unreal Engine, Blue Zoo, GritWorld, Nodal, Oracle Cloud Infrastructure, Shotsky, SWR Wissen and ZEISS have booked stands on the Marketplace. Amazon Web Services AWS, Microsoft Azure and Oracle Cloud Infrastructure are offering workshops. Other participants in the Recruiting Hub are Electric Theatre Collective, The Mill, Topalsson and Umedia Visual Effects.

FMX 2019 Games Trailer – Kinky Kitchen
For all those who have always wondered what kitchen utensils are up to when no one is at home – the short film trilogy Kinky Kitchen brings the truth to light! Kinky Kitchen is available as a trailer and as a game, both created by students of the Animation Instituteof the Filmakademie Baden-Württemberg (Animation Director, Character Design: Bea Höller | Technical Directing, Compositing, Lighting/ Shading, Game Director: Daniel Schmucker | Animation-/ VFX-Producing: Laura Messner | Concept/Design: Tao Zhang | Assistant Director, Modelling: Steffen Oberle | Rigging: Mariia Prokopenko | Sound Design: Marco Dahl). Trailer Kinky Kitchen & Game Trailer Kinky Kitchen

In 2019, FMX released four different trailers for the first time. Each of the areas mentioned in the FMX subtitle – animation, effects, games and immersive media – is represented with its own trailer, which is unique in terms of technology, style and story.

Kinky Kitchen is the fourth trailer for FMX 2019, following Tiefenrausch for Immersive Media, Wonderful World, which represents the VFX area, and CatPlanets, which represents the Animation area.

Tickets for FMX 2019 are available via the FMX website.

The post FMX 2019: Incredibles 2, Spies in Disguise, Game Design und neuer Trailer Kinky Kitchen first appeared on DIGITAL PRODUCTION and was written by Bela Beier.