Originally posted by: Esn
The outsourced animation is really horrible. Definitely Saturday-morning-cartoon quality.
No kidding! I can think of a ton of Saturday morning things nearly as bad as this! The late 80's/early 90's was especially lame for the "runaway productions" that were in place at the time.
Incidentally, here's a short interview David Silverman (producer on The Simpsons and a few other things) had said about overseas animation production of interest to our thread....
How does overseas animation fit into "The Simpsons" production process?
Of course, if we all remember what Tony White had said in an interview for his latest book a few pages ago, he felt that overseas animation subcontraction should only work if it contributes to the growth of animation in said country. Often I wonder how true this is nowadays or is it just not taken literally. Even in the age of CGI, there's still that need to rely on our buddies in Asia for the bulk of it (a studio in Shanghai for example worked on Dreamworks' prime-time flop "Father of the Pride" for example), though usually much of it still exists more for TV production. I remember back in the 90's when I had to catch an airing of the "All Dogs Go To Heaven" sequel on TV (shudder), and couldn't help but noticed the nearly dozen studios globally that were involved in that slop.
I wish I didn't have to watch this monstrosity, but someone has to look after that wikipedia page, so I might as well.
The outsourced animation is really horrible. Definitely Saturday-morning-cartoon quality.
No kidding! I can think of a ton of Saturday morning things nearly as bad as this! The late 80's/early 90's was especially lame for the "runaway productions" that were in place at the time.
Incidentally, here's a short interview David Silverman (producer on The Simpsons and a few other things) had said about overseas animation production of interest to our thread....
How does overseas animation fit into "The Simpsons" production process?
Of course, if we all remember what Tony White had said in an interview for his latest book a few pages ago, he felt that overseas animation subcontraction should only work if it contributes to the growth of animation in said country. Often I wonder how true this is nowadays or is it just not taken literally. Even in the age of CGI, there's still that need to rely on our buddies in Asia for the bulk of it (a studio in Shanghai for example worked on Dreamworks' prime-time flop "Father of the Pride" for example), though usually much of it still exists more for TV production. I remember back in the 90's when I had to catch an airing of the "All Dogs Go To Heaven" sequel on TV (shudder), and couldn't help but noticed the nearly dozen studios globally that were involved in that slop.
I wish I didn't have to watch this monstrosity, but someone has to look after that wikipedia page, so I might as well.
We can certainly use a few good souls to maintain the fort! Perhaps add in that the ink & paint (possibly "inbetween") work was done in Thailand or such. According to the films credits, there was a few studios responsible for the remainder of the animation in Calvert's edition. Two people were credit for "ink & paint" for both Hungary and Thailand, and a Varga Studios was among the names mention under "Animation Production Services" which is located in Budapest. LA-based Kroyer Films and a studio in London called Premier Films, Ltd. is credited for "Additional Animation". And of course there's Thai Wang Film Production, though the credit for them on "Princess and the Cobbler" gets them bracketed with their Taiwanese main office.