VFX Supervisor des Films: Frank Schlegel 



VFX Supervisor: Jan Adamczyk

animation director  Jan Stoltz

VFX Producer: Franzisca Puppe

Scanline FX

VFX Supervisor: José-Manuel Weil

Senior VFX Producer: Michel Mielke

VFX Producer (Stuttgart): Julia Smola


VFX Supervisor Juri Stanossek

VFX Producer: Marina Winter


VFX Supervisors: Bastian Konradt & Radoslaw Jamrog

VFX Producer / Head of Production: Rûken Baran

VFX Executive Producer: Sebastian Leutner


VFX Supervisor: Markus Degen

VFX Producer: Rene Grasser Read more

Amerikanische TV-Animations Probleme: What You Need to Know!

Hier der offenen Brief der SAG AFTRA an die amerikanischen Mitglieder der Animations- und VFX Community:

June 27, 2018

Dear Member,

Our animation community finds itself in the fight of its life, working under expired contracts that do not provide for scale wages or residuals in the fastest-growing area of their work: Animated programs made for subscription-based streaming platforms like Netflix and Amazon.

Animation performers need the power of a strike authorization to avoid losing the hard-fought gains that generations of performers before them have struggled to win. That is why the National Board has unanimously recommended that you vote YES to authorize a strike, if necessary, of these agreements.

A strike authorization does not mean that a strike will necessarily happen, but it gives animation performers an additional tool to negotiate their contracts.

The 2014 Producer – SAG-AFTRA Television Animation Agreement and the 2014 Producer – SAG-AFTRA Basic Cable Agreement for Animated Motion Pictures (collectively, the “TV Animation Agreements”) cover animated programs made for initial exhibition over television and new media. They expired on June 30, 2017, but negotiations over the past year have failed to produce an agreement that the Animation Negotiating Committee can recommend. That is because animation performers have made clear in caucus after caucus — going back to the prior round of negotiations — that they will not accept any deal that does not provide fair terms for animated programs made for subscription-based streaming platforms.

Animation performers have insisted on fair terms for this work for good reason: Since the expiration of the TV Animation Agreements, more than 20 animated series produced for initial exhibition on a subscription-based streaming platform have gone into production. Because that work is not covered by the traditional terms of our TV Animation Agreements, our animation performers do not have the benefit of scale minimums when they work on these programs, the overwhelming majority of which will never pay residuals for any new media exhibition.

In other words, when you go to work on an animated program made for new media, the producer can pay you as little as you are willing to accept and will likely be able to use the program on Netflix, Amazon, Hulu, iTunes, etc. for subscribers to view or customers to pay to download forever without ever paying you a residual. 

This problem was partially addressed for live-action performers in the 2014 round of TV/Theatrical negotiations by setting new terms for high-budget productions made for subscription-based streaming platforms. In the most recent round of bargaining, those terms were further improved. Those terms only apply, however, for programs that are at least 20 minutes long and budgeted at $1.3 million or more for a half-hour show, requirements that exclude nearly all animated programs. Indeed, only one animated series produced in the most recent three-year term of our TV Animation Agreements met these requirements.

In the 2014 round of animation negotiations, we attempted to bargain adjustments to the minimum budget and runtime requirements to better reflect the reality of producing animated programs. Producers were adamant, however, that they were unwilling to deviate from the live-action terms. At the time, there were very few animated programs being produced for subscription-based streaming platforms and we decided not to disrupt employment to win terms for programs that did not exist yet. During the ratification process for the 2014 TV Animation Agreements, however, our members voiced their extreme displeasure that they were effectively denied the same gains that were achieved for live-action performers. Throughout the wages and working conditions process leading up to the current round of negotiations, members repeatedly expressed their resolve to vote against any contract that did not yield fair terms for animated programs produced for subscription-based streaming platforms.

Since the expiration of the TV Animation Contracts, there have been 22 additional series produced for subscription-based streaming platforms, as compared to 23 new series that have gone into production for basic cable. Disney announced that it is launching its own streaming platform, where it will house original animated content. Warner Bros. has launched a streaming platform for animated content called Boomerang and recently renegotiated several series that it was initially producing for basic cable to be made for its Boomerang platform instead. Animation performers cannot afford to ignore the reality that they are fighting for the future of their industry and their careers.

The last offer that the producers made, which is now expired, contained a partial, inadequate improvement to these requirements at an unacceptable price. Approximately 80 percent of live-action programs made for subscription-based streaming platforms are covered by terms that provide scale wages and residuals. Our best projection is that the producer’s last offer will cover less than half of animated programs made for subscription-based streaming platforms with terms that provide scale wages and residuals. And in order to achieve these subpar terms, animation performers will have to make concessions in this space that other performers have not had to make, including:

  1. Giving up residuals for use on foreign streaming platforms.
  2. Giving up the additional payment for a third voice for programs made for these platforms — a payment that members struck for in 1986.
  3. Allowing the minimum budget for triggering these terms to increase automatically every year, which does not happen for live action performers. This means that each year a smaller percentage of animated programs made for subscription-based streaming platforms will qualify for terms that include scale wages and residuals.

Our animation performers are the most talented professionals in their field and they deserve professional terms and conditions when they work. Scale wages and residuals are what allow all of our members to sustain themselves in their careers. Producers should not expect our members to make contractual concessions to achieve a watered-down version of these standard terms.

Only a demonstration of solidarity and resolve can change this result. That is why our Animation Negotiating Committee and National Board have both unanimously recommended that you vote YES to authorize the National Board to declare a strike of the TV Animation Agreements should it prove necessary.

Strength in unity,

Gabrielle Carteris

The Legacy Of Winnie The Pooh

See where it all began. Disney’s Christopher Robin, coming to cinemas August 17. In the heartwarming live action adventure Disney’s “Christopher Robin,” the young boy who shared countless adventures with his band of lovable stuffed animals in the Hundred Acre Wood is now grown up and living in London but he has lost his way. Now it is up to his childhood friends to venture into our world and help Christopher Robin rediscover the joys of family life, the value of friendship and to appreciate the simple pleasures in life once again. Disney’s “Christopher Robin” is directed by Marc Forster from a screenplay by Alex Ross Perry and Allison Schroeder and a story by Perry based on characters created by A.A. Milne and E.H. Shepard. The producers are Brigham Taylor and Kristin Burr with Renée Wolfe and Jeremy Johns serving as executive producers. The film stars Ewan McGregor as Christopher Robin; Hayley Atwell as his wife Evelyn; Bronte Carmichael as his daughter Madeline; and Mark Gatiss as Giles Winslow, Robin’s boss. The film also features the voices of: Jim Cummings as Winnie the Pooh and Tigger; Brad Garrett as Eeyore; Toby Jones as Owl; Nick Mohammed as Piglet; Peter Capaldi as Rabbit; and Sophie Okonedo as Kanga.

ARTE: Verfügbar von 09/07/2018 bis 07/08/2018 Die Abenteuer des Prinzen Achmed (1926)

Der erste abendfüllende Animationsfilm (1926) der Filmgeschichte führt in eine Schattenwelt aus „Tausendundeiner Nacht“: Die Kraft des guten Zaubers hilft Prinz Achmed, seine geliebte Prinzessin Pari Banu aus der Gewalt der Dämonen zu befreien. – Regisseurin Lotte Reiniger entwickelte die Technik des Silhouettenfilms in den 1920er Jahren zur Perfektion.
Lotte Reiniger entwickelte die Technik des Silhouettenfilms in den 1920er Jahren zur Perfektion. Zuerst schrieb sie das Storyboard und zeichnete ihre figurativen Ideen. Mit der Schere schnitt sie dann die selbstentworfenen Figuren und Motive aus schwarzem Fotokarton und verband deren Glieder mit Draht. Auf einer von unten beleuchteten Glasplatte bewegte Reiniger die schwarzen Silhouetten vor Hintergründen aus Butterbrotpapier, während eine frontal auf die Scheibe gerichtete Kamera 24 Einzelbildaufnahmen pro Sekunde schoss. Damit sich die Pappe durch die Hitze der Lampe nicht wellen konnte, beschwerte Reiniger die Figuren mit Blei. Von 250.000 produzierten Einzelbildern wurden für die Darstellung der Abenteuerreise 96.000 Aufnahmen verwendet. In drei Jahren Arbeit von 1923 bis 1926 kreierte sie den 66-minütigen Silhouettenfilm gemeinsam mit ihrem Ehemann Carl Koch, der für Kamera und Aufnahmeleitung verantwortlich war. Dazu schrieb Wolfgang Zeller eine stimmige Filmmusik, die sich stilistisch an der Spätromantik orientiert. Sie wurde von Jens Schubbe für ein kleines Kammerorchester bearbeitet und mit dem MDR Sinfonieorchester unter der Leitung von Frank Strobel neu eingespielt. In dieser transparenten Besetzung kommt die Qualität der Musik besonders zu Geltung, von der es in der zeitgenössischen Kritik hieß: „Seine Musik ist sinfonisch durchgearbeitet wie irgendeine, tonal, aber voll überraschender, stets aparter Harmoniefolgen und Ausweichungen. Sicher getroffen das Märchenhafte und was unser europäisches Ohr als ‚orientalisch’ zu empfinden gewöhnt ist.“

The Art of The Storyboard – Sneak Peek by special guest Lyndon Ruddy

Special Sneak Peek & Pre-Order Price. Click Here:… It’s a great privilege to present a course that has been in HUGE demand. Taught by one of the best story artists the I’ve had the privilege to work with, Lyndon Ruddy! *** Subscribe to My Channel for More Art & Animation Videos: ***… ============================ Like my work? Follow me for More: ============================ Read more

Animation Is All About The Walk

Sources- I Drew Roger Rabbit – Richard Williams on Male and Female Walks – Animating Art (doc about Art Babbitt) – Do It Yourself Animation Show (Williams teaches about the contact and passing positions) – Eric Goldberg’s advice for young animators –

You can follow me through: Twitter- Vimeo-

Music by: “Circa 1980“ by Bonus Points – “A Beautiful Spring Day“ by George Bruns “Why Grumpy, You Do Care“ by Paul J. Smith & Leigh Harline “Darkness Into Light“ by John Tavener “Wonderful“ by Dyalla Swain –

Annecy und Networking mit Alexander Richter


Annecy ist ein Animationsfestival an einem See in Annecy (Frankreich). Lass mich Euch Annecy vorstellen und im Anschluss sprechen wir über Networking und wie man an das Thema gehen kann.

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Annecy is this beautiful animation festival near a lake in Annecy, France. Let me give you a brief overview of this festival and let’s talk about networking and how it can be done.

Subscribe to my YouTube Channel

„Heute lernen wir Skripten und Programmieren“ mit Alexander Richter


Das Nachfolgevideo um sich mental auf’s Skripten und Programmieren vorzubereiten. Wir sprechen über Ausreden, wieso wir diese Fähigkeit nicht bereits erlernt haben. Schauen uns Sprachen in Visual Effekts, Animation und Spielen an und welche davon sich besonders gut eignen. Große Überraschungen hier. Und zu letzt zeig ich Euch wie ihr Euer System mit Python und Sublime Text 3 aufsetzt.

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The follow-up to the video to the mindset of what you should do when you want to start scripting and programming. We talk about excuses since a lot of times they are the reasons that hold you don’t and don’t allow you to start.
After that, we look into languages in Visual Effects, Animation and Games and which of them would be the best choice. (Big Surprises here.) And last but not least I show you how to start by installing Python and Sublime Text 3.

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„Was ist ein Technical Director?!“ mit Alexander Richter


Was genau ist ein Technical Director in VFX, Animation und in Spielen? Da ich diese Frage fast täglich gestellt bekomme von Leuten außerhalb und innerhalb der Industry, dachte ich gebe Euch einen Eindruck in das Denken eines TDs in dem schönen Wien (Österreich).

Ein Technical Director zu sein bedeutet künstlerische und technische Herausforderungen mit technischen Ansätzen zu lösen. Dies kann bedeuten Strukturen und Arbeitsweisen zu erstellen, zu Skripten oder zu Programmieren, aber auch Testen, Vorbereiten und nicht zu selten künstlerische Tätigkeiten zu übernehmen.

TD positionen

Asset TD, Look Dev TD, Rigging TD, Lighting TD, Rendering TD,
Surface TD, FX TD, Crowd TD, Pipeline TD, Animation TD, Layout TD …

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What is a Technical Director in VFX, Animation, and Games?
Since I get asked that a lot of people in and outside the industry I thought I give a basic interpretation while I am in Vienna, Austria.

Being a Technical Director means to solve artistic and technical problems with a technical mind. It can involve structure, workflows, scripting & programming, testing what works, templating and also being creative.

TD positions
Asset TD, Look Dev TD, Rigging TD, Lighting TD, Rendering TD,
Surface TD, FX TD, Crowd TD, Pipeline TD, Animation TD, Layout TD …

Subscribe to my YouTube Channel

„WEEKLY NEWS #1 About Success, Annecy, 500+ Subscriber“ mit Alexander Richter


Lasst uns als erstes über Erfolg und Fortschritt und wie wir uns möglicherweise selbst sabotieren, um nicht dahin zu kommen, wo wir hinwollen. Wir wollen vielleicht eine bestimmte Fähigkeit lernen (wie Skripten), einen bestimmten Job oder bestimmte Freundeskreise. Vielleicht ist es das „Upper Limit Problem“, das uns davon abhält unsere Ziele zu erreichen. Kurze Buchzusammenfassung. Read more

The Walk | VFX Breakdown by Rodeo FX

Rodeo FX is thrilled to present some of the stunning VFX work created for Robert Zemeckis’ The Walk. Our team delivered more than 100 visual effects shots, including CG reconstructions of the towering World Trade Center and other scenes from 1970s New York.

Lego-Trickfilm-Workshop für Kids in den Sommerferien Gelnhausen / Main-Kinzig-Kreis.

Am 3. Juli 2018 heisst es wieder „Achtung Aufnahme“ wenn an insgesamt 4 Miniatursets Legofiguren per Einzelbildaufnahme zum Leben erweckt werden.
Unter dem Motto „Aktiv Gestalten statt passiv zu Konsumieren“ lernen die Teilnehmer wie man kleine Geschichten erzählt, Legofiguren laufen lässt und Mimik einsetzt.

Brick ist englisch für Baustein. Brickfilm nennt man Trickfilme die mit Legosteinen oder Figuren hergestellt werden.

Diesmal geht es in unserem Trickfilmworkshop um die Herstellung von Animationsfilmen mit Lego.
Diese werden international BRICKFILM genannt (Brick = Baustein). Legomodelle können sich mittels Stoptrick selbst zusammenbauen oder man kann kleine Geschichten durch die Animation der Legofiguren (Minifigs) erzählen. Ihr lernt wie man Trickfilme grob plant, danach mit einer Kamera am Computer aufnimmt und welche Tricks und Hilfsmittel man dazu verwendet. Wir zeigen euch wie man Legofiguren laufen lässt und Mimik einsetzen kann. Zum Drehen der Filme haben wir alles was man benötigt vor Ort. Ihr könnt euch Legofiguren zusammenstellen, Landschaften mit Strassen, Häusern, Bäumen und Fahrzeuge selbst bauen oder die bereits vorhandenen nutzen. Wir arbeiten dabei mit dem Profi-Programm Dragonframe mit dem auch viele bekannte Stop-Motion-Kinofilme wie Shaun das Schaf, Frankenweenie oder Coraline gedreht wurden.
Ausserdem können sich alle, die ein aussergewöhnliches Andenken mitnehmen wollen, wieder mit unseren original Filmfiguren, wie der Kakerlake
fotografieren lassen.

Dauer: 10:00 – 16:00

Ort: Gelnhausen, Hessen 40 km östlich von Frankfurt am Main

Maximale Teilnehmerzahl: 8 Personen | Alter: ab 8 Jahre | wir arbeiten in 2er Teams

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June 6, 2018, Los Angeles and Paris — Women in Animation (WIA) and Les Femmes s’Animent (LFA) are pleased to announce the final list of sponsors for the second Women in Animation World Summit, set to take place on Monday, June 11th at the Impérial Palace Hotel in conjunction with the upcoming Annecy International Animation Festival and Mifa 2018.

This year’s Women in Animation World Summit sponsors include: DreamWorks Animation, Netflix and Walt Disney Animation Studios at the Gold Level; Blue Sky Studios, Paramount Animation, Pixar Animation Studios, Sony Pictures Animation, Warner Animation Group and Warner Bros. Animation at the Silver Level; and the CNC (Centre National du Cinema et de l’Image Animée), Cube Creative Productions, Cyber Group Studios, Piste Rouge, SACD, SPFA, TeamTO and 22D Music Group at the Bronze Level.

“Building on the great response to last year’s Women in Animation World Summit, we could not be more thrilled to have the support of so many major studios and partners, marking our most robust sponsorship presence ever for any WIA event,” said Marge Dean, president of Women in Animation. “We are excited to present the theme of ‘Inclusion and Intersectionality’ at this year’s summit to serve as a conversation that begins at Annecy 2018 and continues throughout the year, and we look forward to engaging with festival attendees – as well as our global audience via livestream –on the important topics being discussed that day.” Read more


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