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It being a Saturday, and thus a perfect time for a matinee, I thought I'd embed some of the films in a blog item for your enjoyment. The first few are decidedly high tech, with the sort of mind-blowing computer-generated abstractions that could make a fractal fan jump for joy or an early 20th century pioneer like Viking Eggeling or Hans Richter weep over not being born in the Adobe era.

I hope you like what you see. As he told Toolfarm last year, Pagano's technical process "involves a lot of procedural animation where I will set up a system that reacts and animates to an incoming stream of data often derived from sound analysis.

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Tools such as Houdini are phenomenal for such work as they allow for a space of play to both manipulate data and experiment fluidly with ways to connect animation data to anything. Apparently, even for a cutting-edge digital artist, there's something to be said for shutting down the computer and switching off the smartphone once in awhile.

The second vid here offers a side-by-side, before-and-after comparison that reveals a surprisingly mechanical structure beneath the seemingly organic forms and gives an inkling of the amount of work involved in producing such spectacle. Marshall used the open-source Processing programming language to create a situation where the computer itself could become the artist.

The piece employs mathematics and code to let the computer spontaneously produce the imagery. Marshall subsequently used the system he developed here to produce video work for Peter Gabriel , as well as the Zio app for the iPhone and the Eyegasm app for the iPad.

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Yokochi used Cinema 4D and After Effects to create this very short exploration, which features an affecting sequence of a pagodalike structure collapsing and a surprising section wherein a wavelike form spools in on itself. Locus from Masaki Yokochi on Vimeo. Fans of Marc Caro and Jean-Pierre Jeunet's "Delicatessen" and "City of Lost Children" will probably appreciate this short, which puts digital wizardry to more traditionally representational uses than do "Pororoca" or the other preceding films. The "making of" movie is mesmerizing in its own right.

And the music, by Samuel Bisson , is gorgeous. And last, but not least, my chosen representative for the low- or low er at any rate tech category: Ok, we'll take him out. Freddy is in, we have to put him in! Let's remember these were times of economic and institutional crumble in Argentina, but what did this have to do with Freddy, no idea.

By then we found an article in Noticias magazine about one Fernando Semenzato, who worked for Cartoon Network Latin America and we thought of contacting him, - If it's an animation channel it would probably require an animation studio? After searching through land and sea with no success, we received one of those spam emails, with more than two thousand addresses and by kismet although we don't believe in such thing we found ourselves looking in the list of recipients and what a surprise Mr.

'Music Is Math' by Glenn Marshall

We send an email, we introduce ourselves, he calls us, we meet, he offers us a job, we take it, he goes back to Atlanta, they laugh in his face -For that price? Hook Up animated it. We did everything via e-mail, and at that time we didn't send material through FTP, they were tapes by post mail! From the very start we got along super well and had fun in every stage of the job. But there was a little detail: And there I was, I had to write every mail with my feedback of the story boards, animatics, color tests and everything else in spanish.

'Pororoca' by Scott Pagano

At first I showed my mails to someone else, but then I began sending them what I thought was okay, even if there were a few mistakes. They knew that I'm Brazilian, so I didn't care. But one fine day I wrote "muestro" showing instead of "monstrou" monster , and not just once, but many times. And they never said anything. Then the jokes in the e-mails began. When I finally travelled to Buenos Aires to meet them personally, they made fun of my muestros a lot and of everything else! However it was with them that I learned to write in spanish!

Congratulations Hook Up for these 10 years of beautiful animation work, your muestritos! How i love you! We had to move. From the lofts in Zapiola we moved on to a new studio on Artilleros Street in Belgrano neighborhood. From a group of 15 people we increased to one of That same year Cartoon Network turned 10 years and decided to celebrate it with us and we didn't refuse. The project consisted in a series of commemorative spots and the slogan was: Another one of the projects we developed that year was the video for the Basilos' song "Caraluna", by Cartoon Network's request.

It was one of the first jobs where we had the total freedom to create and propose our point of view, the only instruction was the song. The result was an award at the New York Festivals and an original and different piece we like very much. Our fame had crossed the ocean and drowned. But before that it had managed to reach the United Kigndom and in spite of Diego's goals the people at Turner UK ordered us an animation for an image change of Boomerang channel. One of the most loved producers of Cartoon Network, Carlo Olivares had a crazy idea, making a series of animated cartoons in a animated cartoons channel.

Hook Up Animation: HOOK UP ANIMATION 10 YEARS

Who could have come up with that? And the thing is, it was done! The first episode… but it was done and was called "Bobots". That year the people at Disney released a Platinum edition of "Aladdin" and asked us to rub the lamp and make some animations for a video game that was included in this special edition.

Hook Up in the memory. I've been thinking about anecdotes of those years and many of them would burn the people or the studio itself. Beyond the classic paper wars of the middle, I remember one between backgrounds and postproduction in which the paper basket actually got to fly fortunately without injured , a co-worker who enjoyed or did catharsis by destroying gadgets that were no longer functioning, another one that swam by on a chair with wheels, a pair of twins where one of them mutated every other day getting to look even like two different species, and an endless number of characters that were in general all very good people.

All very nice memories.


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One Friday by the end of the day a very raging Omar the moodiest of the bosses pressing for the submission of some shots, I assisted and was an in-between artist and Leandro Corral did the clean up of a long shot of the Coyote. I won't say the animator's name but by that time the Coyote had mutated to the dog Juan Carlos and in that moment after several request of promptitude by Omar I said - this is absurd!

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Well yes, he knew how to laugh too. I also remember the first shot I had to assist was one of Aladdin, it took a lot of work and I received through Kechu a congratulation from Joche for how well the model had been kept.