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‘Koati’s Timeless 2D Captures the Heart of Latin America’s Biodiversity

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By Victoria Davis | Friday, October 15, 2021 at 11:55am

 

As it originally appears online with Animation World Network

 

Hitting theaters today, Rodrigo Perez-Castro’s new hand-drawn animated feature, starring and executive produced by Sofia Vergara, beautifully portrays the region’s vibrant but steadily disappearing rainforests alongside a message of hope for a more environmentally sustainable future.

 

 

It’s a paradise where armadillos wield magic, frogs and butterflies take flight on the backs of jabiru birds, and flowers of every shape and color, and animals of every species, live together as family. Venezuela native and Upstairs animation studio owner Anabella Sosa-Dovarganes says her film Koati is “complete nonsense” when it comes to scientific accuracy. But, at the same time, it’s an incredibly beautiful testament to her beloved Latin America, the creatures that inhabit its rainforests, and the timeless power of 2D animation.

“I’m very proud,” says Sosa-Dovarganes. “What we did was amazing. And I think people are going see that when they see the film.”

Releasing in theaters today, Koati follows the heroic adventure of three unlikely heroes – Nachi (Sebastián Villalobos), a free-spirited coati; Xochi (Evaluna Montaner), a fearless monarch butterfly; and Pako (Eduardo Franco), a hyperactive glass frog – who embark on an exciting journey to prevent a wicked coral snake named Zaina (Sofía Vergara) from destroying their homeland of Xo.

This is the first animated feature film produced by Upstairs, along with Los Hijos de Jack and Latin We. With animation by long-time Disney collaborator Toon City Animation, the film not only features actor Vergara as the film’s main antagonist, but the Modern Family star also serves as executive producer.

 

 

Nearly all Koati’s main cast and key production team members, like Sosa-Dovarganes, have connections to Latin America, with Vergara hailing from Colombia, production designer Simón Valdimir Varela from El Salvador, art directors Lubomir Arsov and Fernando Sawa from Argentina, and director Rodrigo Perez-Castro from Mexico.

“I want the audience to be moved,” says Perez-Castro, who’s known for his storyboard work on Ferdinand and Rio 2. “Laugh, cry, all the good stuff. But I hope, as they fall in love with the characters, that they gain awareness about the natural world that is disappearing. Because it’s up to children to make sure that world survives.”

It’s no secret that biodiversity has become an increasingly rare commodity in our world. For Sosa-Dovarganes, it’s been a 10-year journey coming up with a story that would not only highlight all the unique regions of Latin America but also draw attention – using hand-drawn 2D animation – to the natural world and endangered species within its forests that are also rapidly disappearing.

“The seed of this project was to make sure that we sang to Latin America and its qualities, but one of the reasons the world really needs Latin America is because, right now, that’s home to the vast majority of rainforests,” explains Sosa-Dovarganes, whose team has partnered with WWF (World Wide Fund For Nature) to promote more sustainable lifestyles and the conservationist message of the film. “When we started creating the film, we handpicked the animals that we knew were in danger to be the characters.”

 

 

 

 

She adds, “We really wanted this film to be different. We did not choose the most beautiful animals that people would naturally be drawn to. We chose those that represented who we are as a culture and those who most needed our attention.”

Every animal represented in the film, except the coati protagonist Nachi, is currently on the verge of extinction — the glass frog Pako, the black jaguar Balam, the quetzal bird Amaya, the tamarin monkey Whiskers, and many others. But the animators have given vibrant, graphic life to these animals, naturally attractive or not, in the hopes that audiences will grow in their fondness for the oddly charming Pako, the wise Balam, the motherly Amaya, among others, and want to enact change to see these animals survive.

And a big part of pulling audiences into the rainforest world was bringing back the nostalgic aesthetics of hand-drawn animation.

“When Anabella approached me, I was like, ‘Let’s make it like one of those hand-drawn films, rich and fully animated in a traditional way,’” remembers Perez-Castro. “We both grew up with the classic hand-drawn animated films like The Little Mermaid and The Lion King. So, it’s in our DNA. And I think one of the many reasons why I got into the business was because of those films.”

He continues, “It was a pretty ambitious idea and we had to look under every rock to find animators that could work on the film. But people really got into this idea, and we found lots of animators who had been craving to get their hands on animating characters in ways that were very naturalistic. We didn’t want animals that were like Bugs Bunny or from Madagascar. We wanted to reflect the natural world, similar to how they did it in Bambi, and the anatomy of those animals.”

 

 

Like the animal characters, the film’s settings are incredibly captivating, from lush greenery and silky waterfalls to regal architecture and menacing volcanoes. In total, Koati’s fictional setting explores roughly one dozen real locations in Latin America, such as the Yucatan and the Amazon, and landmarks specific to those regions, from the grand Iguazu Falls to the Tepuis mountains.

“We even have the Monarch Butterfly Sanctuaries, which are not really in the jungle, so we took some artistic liberties,” notes Perez-Castro. “There are a lot of Mayan motifs, not only in the pyramids but also in the actual jungle where you see flowers designed in a way that’s representative of Mesoamerican cultures. It was a combination of trying to emulate some of that nostalgia that we all had for the hand-drawn animated feel from those Disney classics but, at the same time, giving it this fresh look that is very particular to Latin America.”

Sosa-Dovarganes says the team was extremely diligent with the development stage and took it very seriously, considering the amount of negotiation it took to convince investors and partners that 2D, rather than 3D, was the way to go.

“They didn’t understand why we wanted to go back to 2D, but we were very lucky we had people that trusted us,” says Sosa-Dovarganes. “We spent almost two years doing development and I think you can see that in the level of detail of our work. One background, in particular, took us almost four months to approve.”

Pete Denomme serves as a producer on Koati and is one of the only members without a Latin American background, though Sosa-Dovarganes says he has a “big Latin heart.” The Switch VFX and Animation CEO is also no stranger to films centered around highlighting the importance of the world’s diverse forests and the small lives that often are overlooked in the name of economic progress. “The first movie I ever worked on in my animation career was Ferngully, and it’s ironic that one of the last films I’m ever going to work on is Koati,” says Denomme. “It’s just a full circle for me. “The audience is going to fall in love with the characters and then they are going to fall in love with the story. Ferngully, the storyline and the thoughtfulness in that film, it still resonates today. It’s going to be the same with Koati. It’s going to have a legacy down the road. People are going to keep picking it up because of the environmental aspect and the characters.”

 

 

While Koati’s mission is to enact change, Sosa-Dovarganes is adamant that it’s first and foremost, a “feel-good movie,” mixing characters and environments that would never scientifically go together all for the sake of making an impact on the next generation of change-makers and creating a magnificent quilt of Latin American representation.

“The film is not intended to be depressive,” she shares. “It’s not a documentary. That’s not our role. Our role is to get the families engaged and to have them fall in love with the characters. Then, hopefully, that will plant a seed. Though World Wide Fund for Nature has been able to engage the people that care about the environment already, they haven’t grown beyond that group. And in order for them to create a real impact, they really need young audiences to get involved.”

She adds, “There’s a song in the film called “Together Through Whatever” and, for me, that summarizes this film. It’s a message of hope and happiness and that there is a future if we come together.”

Victoria Davis is a full-time, freelance journalist and part-time Otaku with an affinity for all things anime. She’s reported on numerous stories from activist news to entertainment. Find more about her work at victoriadavisdepiction.com.

Making FX on Hulu’s Y The Last Man

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As it originally appears in Post Magazine’s September/October 2021 Issue

 

Y: The Last Man is a new FX on Hulu drama based on the DC Comics series by Brian K. Vaughan and Pia Guerra. After a cataclysmic event decimates nearly every mammal with a Y chromosome, one man and his pet monkey survive. The series follows those who are left and their efforts to restore what was lost.
Produced by FX Productions, the show stars an ensemble cast that includes Diane Lane, a politician who now assumes the role of President, along with Ashley Romans, Ben Schnetzer, Olivia Thirlby, Amber Tamblyn, Marin Ireland, Diana Bang, Elliot Fletcher, Juliana Canfield and Missi Pyle.
VFX
Muse VFX (musevfx.com) in Hollywood is one of the studios contributing visual effects to the series. Others include Switch, FuseFX and ILM.
In Muse VFX’s case, the studio has collaborated with visual effects supervisor Stephen W. Pugh on a number of projects over the past 20 years, and once again partnered with him on this series.
“When he landed the job, he gave us a call and said, ‘Look, I’ve got this new gig and I want you guys to be a part of it,’” explains Muse VFX co-founder/creative director/VFX supervisor, John Gross.
The studio got to work on the show in earnest last August, after delays due to COVID. At press time, Episodes 7, 8 and 9 were all in post production, with as many as 18 artists touching the show at different times. In addition to clean up, matte paintings and set extensions, Muse VFX also handles creature work, shots involving explosions and other forms of destruction — all with an emphasis on photorealism.
Fred Pienkos, co-founder and VFX supervisor at Muse VFX, says the studio contributes between 35 and 45 shots for each episode.
“I think Y: The Last Man is sort of the ‘bridging of TV and film’, because they’re running it more like a TV pipeline, but they’re shooting it more like a film,” notes Pienkos. “For example, the whole show is shot anamorphic, which is a decision they made for the look of the show. But that requires a little more effort in the visual effects world to deal with those lenses. It’s sort of coming together, like TV and film are colliding. It’s been going on for a while, but this show really feels like that.”
Much of the show is shot in Canada, but made to look like different areas of the United States, including Washington, DC, Boston and Oklahoma.
“Everything’s based in reality,” says Gross. “The explosions — if there’s something exploding — it’s because somebody blew it up. Things fall and crash, and then (there’s) a lot of just making people look dead or making props look better. A lot of invisible effects, making things look dead and destitute.”
Muse VFX had a remote pipeline set up before the pandemic, but COVID really pushed the studio to take advantage of it.
“We were doing a little remote work before the pandemic,” says Gross, “but the pandemic really pushed us, and pushed Fred and the IT team, to make it happen, where it can just be like we’re in the office.”
“Pipeline wise, our studio is basically a private cloud, and all of the content is secured in a private network,” explains Pienkos. “People use VPN and cloud-access software to remote into (the studio) from their house. All of the work is being done in our private network, but from people around the country.”
Muse VFX relies heavily on SideFX’s Houdini for its effects work, along with Autodesk Maya for modeling, Pixologic’s ZBrush digital sculpting software and Foundry’s Mari digital paint tool.
“It’s sort of unique that we we’re doing much more of our work in Houdini than Maya these days,” notes Pienkos. “Modeling and character animation still exist in Maya for now.”
Blackmagic Design’s Fusion Studio serves as the backbone of Muse VFX’s 2D/compositing pipeline.
“We used it exclusively for all of our compositing work on Y: The Last Man, including prep, de-graining, rotoscoping, keying, tracking, particle effects and final composite,” says Pienkos. “We find it more reliable and reasonable than other compositing solutions.”
Pienkos points to a particular scene in which Fusion Studio proved useful. The studio was tasked with creating an explosion of a house using LIDAR scans and photo references that were taken on-set.
“No practical effects were shot on the day, and there was significant layering required to integrate the explosion of the house with the environment, as there were multiple layers of trees and bushes between the camera and the house,” Pienkos recalls. “We also needed to replace several practical trees with CG. For this sequence, camera tracking, rotoscoping, digital pyro, digital debris and digital foliage were all comp’ed together in Fusion Studio, including a simulation to blow out a nearby car’s windows as part of the explosion.”
Muse VFX’s pipeline also includes PFTrack from The Pixel Farm and SynthEyes from Andersson Technologies for tracking, and Maxon’s Redshift for rendering.
“In the pilot, there are definitely some signature shots that that I think we’re all very proud of,” adds Gross. “The way they look — they look absolutely real!”
Toronto’s Switch (www.switchent.com) worked on more than 100 shots for the series, creating matte paintings, set extensions, gun battles and green-screen composites. The VFX supervisor Stephen Pugh tasked the studio with creating matte paintings and set extensions for the series’ opening apocalyptic sequence, which appears in Episode 1.
The in-house creative team of VFX supervisors Jon Campfens and Beau Parsons worked with Pugh and senior CG artists David Alexander and Brandon Rogers, along with senior compositors Mike Suta and Amanda Hollingworth, to create the sequence with the rest of the Switch crew.
In one shot, abandoned cars clutter an LA highway, while debris from a plane crash covers a nearby hillside, all marking the sudden and violent halt to normalcy. Hundreds of 3D assets — including cars, trucks and the airliner — were created using Maya, with textures created in Mari, and modeling performed in ZBrush. Redshift was used for rendering.
Each asset was then referenced into the scene and hand placed to design the crash to create a natural and realistic look. Referencing the assets into the scene allowed the artists working on the vehicle models to continue to update them, as other artists continued laying out the crash.
Foundry’s NukeX was used to obtain a 3D camera track, along with a point cloud and guide geometry as a representation for the landscape of the shot. In Photoshop, multiple frames from the plate were used to create a matte painting for the highway without any cars. From there, the matte painting, along with other debris and smoke elements, were projected onto 3D cards in Nuke and placed where needed in the scene. Elements and plates were ultimately combined in NukeX.
COLOR GRADING
For colorist Dave Hussey at Company 3 in Santa Monica, it was his past work with cinematographer Kira Kelly that led to his involvement on Y: The Last Man. The two worked together on The Red Line, and more recently on HBO’s Insecure. Kelly shot the pilot for Y: The Last Man and asked Hussey to be a part of it.
“Kira and I had a working relationship, so we created the LUT for the show, with some help from (DP) Catherine (Lutes), and we went from there.”
The pilot episode, Hussey explains, is a little different than what viewers will be exposed to as the show develops.
“In the pilot, you have life the way it was before things go bad,” he explains. “Everybody’s looking good. The people look the way you would expect them to look, with full makeup and hair and wardrobe. But then as things break down, once the virus comes along, and starts killing men — then things start to shut down. There [are] little lighting changes. The people aren’t wearing so much makeup or doing their hair because it’s chaos. So between Episode 1 and the rest of the series, you have kind of a change in the overall feel of the show.”
On the front end, Hussey met with Kelly and Lutes to discuss how they wanted the show to feel.
“We definitely wanted it to have a cinematic quality,” he recalls, “so we designed a film emulation LUT that kind of gave us the richness we were looking for in color. But also, we wanted it to be able to go fairly gritty as well, because once things start going bad, it has quite a dark, gritty look to it, so we wanted a LUT that could give us both.”
This involved some experimentation and collaboration with the color science experts at Company 3.
“We came up with something that would work for the beginning of the show, that needed the richness, but then could also be adapted to look gritty as well.”
The show was shot on Arri’s Alexa and the LUT was applied so the show’s editorial team would have a fair representation of what the series would ultimately look like.
“The LUT that I’m using to do the final color correction is basically the same LUT that they used as a shooting LUT in production,” Hussey explains. “When you look at the dailies, they’re very close to what we end up with in the actual final (deliverable). That was our goal. We didn’t we didn’t want the dailies to look one way and then have our final show look like something else. Also, because the show was very dark in general, for the DPs, we wanted to have a LUT that they could trust, that they knew where they were exposure wise and just felt comfortable with.”
In addition to Kelly and Lutes, Claudine Sauve also served as DP on the series.
“The LUT that we came up with, I think all three DPs were pretty happy with,” says Hussey. “They were able to tweak on-set with their DIT a little bit, depending on the situation.”
Y: The Last Man spans 10 one-hour episodes, and debuted on September 13th. When Post spoke with Hussey, he was working on Episode 7.
“How we work is, I do a pass of color myself, and then we’ll either send it to whoever the DP is that shot it and get color notes. Or, if they happened to be available for an afternoon, we’ll do a virtual (meeting) wherever they are. Once we’ve gone through the show again and done all the tweaks the DPs are happy with, then we screen it for the showrunner. They’ve been working very closely with the DP, so they don’t have a lot of color tweaks, really.”
The showrunner, instead, uses the color grade as an opportunity to call out story points.
“The showrunner has been really good about story points that I may have missed,” Hussey recalls. “Something like, ‘bring out this book’ or ‘bring out that phone’ — points that the showrunner would know more than I would.”
Hussey works on a Linux-based system running Blackmagic Design’s DaVinci Resolve, a tool he’s been using since its infancy in the 1980s.
“I started working on DaVinci back in 1986, so I’m pretty much a Resolve guy,” he notes. “I’m much faster on Resolve than any other system. I think for colorists, they pick the system they enjoy.
“It’s hard to believe, really,” he says of DaVinci’s evolution. “I started my career in Toronto in the early ‘80s. When we first started using DaVinci, it was all analog. Things drifted and we were working off of film. Is a completely different world! We had no power windows, no noise reduction. We had very little to work with. There was basically just three joysticks.”
Today, he praises the system’s unlimited power windows as well as Blackmagic’s business plan that allows even casual users to download a free version of the application.
“Because Resolve is so popular and people can download the basic [features] of Resolve, people have a little more knowledge of what I can do. And they can speak my language a little bit easier because a lot of people have played with the software and know how to ask me for something.”
Hussey is often working with incomplete episodes, where visual effects shots are coming in later in the cycle as the deadline approaches. He can get through a general color pass in about 12 to 14 hours before showing it to the DP for feedback. An episode will ultimately take 30 hours of his time once feedback has been implemented.
“I may color a VFX shot and, a week later, I’ll get an update of that VFX shot,” he explains. “You may end up coloring the same shot several times because it’s constantly being updated and changed.”
All of his work on the show took place this past spring in his suite in Santa Monica.
“We’re in a very big facility, so it was easy to social distance,” he states.
Beyond Y: The Last Man, Hussey has a number of projects forthcoming, including The Afterparty, from writer/director Christopher Miller. The upcoming Apple TV+ series retells the story of a high-school reunion through the eyes of a number of different characters.
“The color is completely different, depending on who the character is,” says Hussey excitedly. “And in the final episode, you have a mixture of all eight points of view — all mixed together.”

Stephen King’s Chapelwaite premieres in August on EPIX and CTV Sci-Fi

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Trailer  Chapelwaite (imdb.com)

 

See some of the work of Switch VFX in Stephen King’s Chapelwaite, based on his short story Jerusalem’s Lot

 

Set in the 1850s, the series follows Captain Charles Boone (Adrien Brody) who relocates his family of three children to his ancestral home in the small, seemingly sleepy town of Preacher’s Corners, Maine after his wife dies at sea. However, Charles will soon have to confront the secrets of his family’s sordid history, and fight to end the darkness that has plagued the Boones for generations.

Switch Animation and OIAF showcase Canadian Student Animation Talent

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Since 1976, the Ottawa International Animation Festival (OIAF) has grown to be one of the world’s leading animation events providing screenings, exhibits, workshops and entertainment. An annual five-day event it features the world’s most quirky, provocative and inspiring animation.

 

 

When the festival introduced a Canadian Student Competition in 2020 to showcase the work of talented artists from the country’s renown academic programs Switch Animation became involved as our goals were aligned. Already entrenched in support for the passions of young artists this new competition was a perfect extension of our education support which includes:

·        Exposure in elementary schools with the Girls in Tech Conference introducing youngsters in grades 6-8 about careers in animation.

·        Involvement with xoto schools who are encouraging animation in high school curriculum.

·        Investment in the Switch Scholarship Program at major Ontario colleges.

·        Host and primary sponsor of the Animation Lounge workshops available to both beginner and professional digital artists.

 

In its first year the Canadian Student Competition featured 17 films, showcasing the work of over 60 talented young filmmakers. One of the films selected by the OIAF judging panel was created by 2020 Switch Scholarship winner from Seneca College Samantha Van Rootselaar entitled Breaker Point. It is the story of Jamie, a huge horror fan who despite a young age, explores the depths of their house during a power outage where the horrors in the mind might prove to be a lot more than they’re ready to handle.

 

 

See Samantha’s scholarship demo reel and that of our other scholarship winners at Scholarships Archive – Switch VFX & Animation (switchent.com)

 

Education and the support of young talent in Canada is a passion of Switch VFX & Animation. We believe Canada needs to cultivate and keep our talented artists working within our industry and one of the best ways show them support is to give them opportunities to showcase their talent. The Canadian Student Competition gives young filmmakers this exposure.

 

Once again, this year the Ottawa International Animation Festival will be taking its screenings and talks online with extended dates from September 22 to October 3, 2021. Be sure to check out the work of Canada’s talented students as well as the innovative artistry of some of the world’s best filmmakers.

 

Original Article appeared on LinkedIn

 

 

2021 Switch Scholarship Winners

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Ontario is home to some of the most prestigious post-secondary animation programs in the world.  Switch VFX & Animation is proud to support these fine institutions with scholarships that encourage their best and brightest talents to pursue their passions.

 

See the reels of this years winners.

 

Drewe Power – Algonquin College

 

 

Rhael McGregor – Seneca College

 

 

Andres Francken – Sheridan College

 

 

Madison Koke – St. Clair College

 

Education & Inspiration make Magic

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Our focus at Switch VFX & Animation is on exceptional service work, inspiring co-production and the advancement of education. The latter is a passion we support to ensure the strength and viability of an industry that we love. We strive to spark the interest of the young – they are our future.

 

 

On May 29th U of T Schools will hold their Girls in Tech Conference, an annual event of exciting workshops and panels to inspire girls in grades 6 – 8 to consider diverse careers in STEM (Science/Technology/Engineering/Math). Switch Animation sponsors a session each year to build interest in the inventive digital art of Animation. A passion for this craft can begin here at the elementary age level through exposure to something like Girls in Tech and be encouraged through high school.

 

In high school students can begin to build their animation fundamentals in electives and regular classes:

 

1)     Aspiring animators should always consider an Animation elective if it is offered but these are rare. XOTO Schools in Toronto have been working with our partners at The Animation Lounge to make these more available in school. Many Animation Lounge workshops are online and available to anyone. In one introductory session, attendees will learn the basics and come away with a piece of work for their portfolio.

 

 

2)     Art courses are usually offered and are beneficial as they teach basic art principles and can be a creative outlet for beginners, intermediate artists and those who can work at an advanced level, all building art portfolios for post secondary.

 

3)     Computer based technology, such as 3D animation software and motion capture, to depict subjects are critical now in the field of animation. Animators entering the industry today will need to have strong computer skills and taking a Computer Science class in high school can give them much of that basic understanding.

 

4)     Each year of high school English courses read and analyze a few of the most important literary works in history. This teaches future creative professionals the basic elements of telling a story and telling it well.

 

5)     Biology is useful for animators because they need to be acutely aware of how living creatures look, move and behave.

 

Any kind of Film Production or Video Game Development elective can also be taken to gain background information that can only help students as they move toward the post-secondary level.

 

Ontario is home to some of the best post-secondary school animation programs in the world. The Switch VFX & Animation Scholarship Program offers financial investment in students at Sheridan College, Seneca College, St. Clair College and Algonquin College. Some of the training received addresses the computer technology that is standard in the animation industry, such as 3d animation and rendering software plus students learn about traditional visual art, including color theory, composition and drawing, as well as filmmaking techniques.

 

We encourage all our studio colleagues to get involved in building our industries future.

 

Click HERE to learn more about The Animation Lounge

Click HERE to learn about Girls in Tech Conference

Click HERE to see the reels of Switch VFX & Animation Scholarship Winners

Click HERE to learn more about Switch VFX & Animation

 

This article originally appeared on LinkedIn.  Click HERE to view

Passion: The Perfect Project

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Years ago, I decided that some of the work of my animation studio would be dedicated to something bigger, a cause that needed highlighting, an important issue, a story that I felt must be told. These opportunities rarely come in a massive commercial entertainment production – they are usually created for a smaller, underserved audience where interest is limited and financing unavailable. These gems become our altruistic, passion projects – they energize our artist creativity and evoke goodwill.

 

I was introduced to the book The Perfect Project by esteemed author Dr. Tracey Packiam Alloway and saw an opportunity to create a short film that could help improve understanding of children on the autism spectrum. Our newest passion project was born.

 

 

The Perfect Project, An Animated Short Film About Autism was produced to celebrate the superpowers of children on the autism spectrum.  It tells the heartwarming tale of how Charlie, a young boy with autism and his classmates learn to collaborate on their science fair project. The story showcases recognizable areas of this developmental disability like difficulty with social interaction, expression of emotion and sensory overload while also focusing on a powerful memory for facts and events often seen in those on the spectrum. An autistic voice actor was cast in the lead role and animators on the spectrum were included in part of the production. I am most proud of how the film expresses to children what autism is, in a simple, direct and honest way with sensitivity and gentle humor highlighting the underlying universal themes of understanding and acceptance.

 

 

The Perfect Project, An Animated Short Film About Autism has been positively received by Autism Speaks Canada and has been featured at international animation film festivals. A recent report from the Children’s Media Lab at Ryerson University that examined children’s animated content in Canada re-ignited our passion for sharing The Perfect Project since the report discovered no main character in Canadian animation was neurodiverse. The motivation now is to continue Charlie’s story, building him into a spectrum superhero, to share knowledge, engage empathy and use the platform of animation to positively impact the perception and reception of autism.

 

This production comes at a cost so we are looking for partners, investors and ideas to further this passion project. Please reach out – there is so much more work to be done – peted@switchent.com

 

See the short film trailer here: The Perfect Project Trailer on Vimeo

 

This article was originally published on LinkedIn. Click HERE to view

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