Hot on the heels of creating the animation for The Lego Movie 3D, which has amassed $US330 million worldwide, Animal Logic has been restructured into three divisions.
The group will now comprise Animal Logic Animation; Animal Logic VFX; and Animal Logic Entertainment, a Los Angeles-based feature film development arm that is nurturing a slate of animation, hybrid animation and live-action and director and VFX-driven films.
Eighteen months after the company bought Fuel VFX, its personnel have been integrated with Animal Logic.s VFX teams and the Fuel VFX brand has been dropped.
.The newly consolidated division will trade as Animal Logic VFX, incorporating the wealth of talent and technology under one roof, further strengthening its ongoing commitment to the Australian and international VFX industry,. Animal Logic CEO Zareh Nalbandian tells If.
.On the back of the success of The Lego Movie it is a logical step to have a clearer structure across the company.
The group will now comprise Animal Logic Animation; Animal Logic VFX; and Animal Logic Entertainment, a Los Angeles-based feature film development arm that is nurturing a slate of animation, hybrid animation and live-action and director and VFX-driven films.
Eighteen months after the company bought Fuel VFX, its personnel have been integrated with Animal Logic.s VFX teams and the Fuel VFX brand has been dropped.
.The newly consolidated division will trade as Animal Logic VFX, incorporating the wealth of talent and technology under one roof, further strengthening its ongoing commitment to the Australian and international VFX industry,. Animal Logic CEO Zareh Nalbandian tells If.
.On the back of the success of The Lego Movie it is a logical step to have a clearer structure across the company.
- 3/4/2014
- by Don Groves
- IF.com.au
This article first appeared in If Magazine Issue #147
There are only a handful of Australian companies capable of creating visual effects (VFX) at a standard acceptable to the Us studios but a year ago they were struggling because the strength of the Australian dollar had eaten away at their ability to compete financially with other highly skilled service providers worldwide.
The Federal Government responded to their plight last May and increased the Pdv (post, digital and visual effects) offset from 15 to 30 per cent, allowing international players to claim back nearly one-third of what they spend in Australia when they put in their tax returns.
.If it had not been for the doubling of the Pdv offset, Australia.s VFX sector would have contracted drastically and I.m not overstating that,. says Zareh Nalbandian, Sydney-based co-founder and chief executive of Animal Logic. He is adamant that he would not currently be...
There are only a handful of Australian companies capable of creating visual effects (VFX) at a standard acceptable to the Us studios but a year ago they were struggling because the strength of the Australian dollar had eaten away at their ability to compete financially with other highly skilled service providers worldwide.
The Federal Government responded to their plight last May and increased the Pdv (post, digital and visual effects) offset from 15 to 30 per cent, allowing international players to claim back nearly one-third of what they spend in Australia when they put in their tax returns.
.If it had not been for the doubling of the Pdv offset, Australia.s VFX sector would have contracted drastically and I.m not overstating that,. says Zareh Nalbandian, Sydney-based co-founder and chief executive of Animal Logic. He is adamant that he would not currently be...
- 2/4/2013
- by Sandy George
- IF.com.au
Fuel VFX has announced the front line of producers who will lead the combined Fuel and Animal Logic advertising post-production team: Samantha Daley, Sarah Hiddlestone and Alastair Stephen.
It follows Animal Logic's acquisition of Fuel VFX in early-October, which saved the VFX house after it hit cash flow troubles. Animal Logic then combined its short-form and advertising operations with Fuel VFX, which are now being run from Fuel's Newtown offices.
Animal Logic said Daley and Hiddlestone will provide continuity of service for the clients of Fuel and Animal Logic, while new team member Stephen joins the team with more than 20 years of industry experience. He began his career working with Sydney agencies Gp Bates, Ddb and Attik, transitioning to the VFX industry to lead facilities Engine, Digital Pictures and Iloura as executive producer. He most recently worked on ABC1 and ABC2 rebrands.
Animal Logic also said VFX supervisor Simon Maddison...
It follows Animal Logic's acquisition of Fuel VFX in early-October, which saved the VFX house after it hit cash flow troubles. Animal Logic then combined its short-form and advertising operations with Fuel VFX, which are now being run from Fuel's Newtown offices.
Animal Logic said Daley and Hiddlestone will provide continuity of service for the clients of Fuel and Animal Logic, while new team member Stephen joins the team with more than 20 years of industry experience. He began his career working with Sydney agencies Gp Bates, Ddb and Attik, transitioning to the VFX industry to lead facilities Engine, Digital Pictures and Iloura as executive producer. He most recently worked on ABC1 and ABC2 rebrands.
Animal Logic also said VFX supervisor Simon Maddison...
- 11/7/2012
- by Staff Reporter
- IF.com.au
Alastair Stephen
Fuel VFX has announced a team of three producers to represent the new look company in the advertising post production sector.
The appointments come just over a month after the company’s assets were bought by Animal Logic in early October, following Fuel entering voluntary administration. At the time of Animal Logic’s purchase it was announced both Fuel and Animal Logic’s short form and advertising post production services would be working out of Fuel’s Newtown offices.
Samantha Daley
The producers are Sarah Hiddlestone from Animal Logic and Alastair Stephen formerly an Ep for visual effects house Iloura who will join Samantha Daley. Daley was with Fuel prior to administration.
Stephen’s background, prior to Ilour includes time as an Ep at Engine and Digital Pictures. Before that Stephen worked agency side with Ddb, Gp Bates and Attik.
Sarah Hiddlestone
The team will answer to Gm...
Fuel VFX has announced a team of three producers to represent the new look company in the advertising post production sector.
The appointments come just over a month after the company’s assets were bought by Animal Logic in early October, following Fuel entering voluntary administration. At the time of Animal Logic’s purchase it was announced both Fuel and Animal Logic’s short form and advertising post production services would be working out of Fuel’s Newtown offices.
Samantha Daley
The producers are Sarah Hiddlestone from Animal Logic and Alastair Stephen formerly an Ep for visual effects house Iloura who will join Samantha Daley. Daley was with Fuel prior to administration.
Stephen’s background, prior to Ilour includes time as an Ep at Engine and Digital Pictures. Before that Stephen worked agency side with Ddb, Gp Bates and Attik.
Sarah Hiddlestone
The team will answer to Gm...
- 11/6/2012
- by Colin Delaney
- Encore Magazine
Australian independent post production house Animal Logic has bought the business assets of Fuel VFX, the visual effects company which went into voluntary administration in late August.
The acquisition means the foundation of a new company Animal Logic Fuel, trading still as Fuel VFX, with both companies operating with their own distinct identities and client relationships.
It is good news for the VFX industry which has struggled recently due to a high Australian dollar acting as a deterrent to Hollywood production houses.
The original five founders of Fuel, Jason Bath, Paul Butterworth, Andrew Hellen, Simon Maddison and Dave Morley will lead all aspects of the new business.
Animal Logic CEO Zareh Nalbandian told Encore: “Our motivation was that we really felt there was a great brand, talent and legacy as an independent design and visual VFX company. I just thought it would be such a bad signal for our industry...
The acquisition means the foundation of a new company Animal Logic Fuel, trading still as Fuel VFX, with both companies operating with their own distinct identities and client relationships.
It is good news for the VFX industry which has struggled recently due to a high Australian dollar acting as a deterrent to Hollywood production houses.
The original five founders of Fuel, Jason Bath, Paul Butterworth, Andrew Hellen, Simon Maddison and Dave Morley will lead all aspects of the new business.
Animal Logic CEO Zareh Nalbandian told Encore: “Our motivation was that we really felt there was a great brand, talent and legacy as an independent design and visual VFX company. I just thought it would be such a bad signal for our industry...
- 10/2/2012
- by Colin Delaney
- Encore Magazine
Australian visual effects and production company Animal Logic has acquired the assets of Fuel VFX.
It ends Fuel VFX's near-death experience after the company, which has contributed visual effects work to a range of high-profile blockbusters, called in voluntary administrators Jirsch Sutherland on August 27 after suffering a cash crunch.
Animal Logic, which is based at Sydney's Entertainment Quarter, plans to continue running the company under the Fuel VFX brand (under a new company dubbed Animal Logic Fuel) at Fuel's current Newtown offices.
Animal Logic chief executive Zareh Nalbandian said there were synergies between the two companies.
"Highly regarded around the world for its advertising and film VFX work, it is a name with a great pedigree and a solid future," Nalbandian said in a statement. "We are committed to making sure that this great creative resource will not disappear from our Australian VFX landscape..
The acquisition price was not disclosed.
It ends Fuel VFX's near-death experience after the company, which has contributed visual effects work to a range of high-profile blockbusters, called in voluntary administrators Jirsch Sutherland on August 27 after suffering a cash crunch.
Animal Logic, which is based at Sydney's Entertainment Quarter, plans to continue running the company under the Fuel VFX brand (under a new company dubbed Animal Logic Fuel) at Fuel's current Newtown offices.
Animal Logic chief executive Zareh Nalbandian said there were synergies between the two companies.
"Highly regarded around the world for its advertising and film VFX work, it is a name with a great pedigree and a solid future," Nalbandian said in a statement. "We are committed to making sure that this great creative resource will not disappear from our Australian VFX landscape..
The acquisition price was not disclosed.
- 10/2/2012
- by Brendan Swift
- IF.com.au
One of Australia’s most respected independent visual effects houses has gone into administration.
Staff of Fuel VFX – which employs around 100 people – were given the news yesterday.
The Sydney-based Fuel VFX was set up 12 years ago by VFX supervisors Paul Butterworth, Andrew Hellen, Simon Maddison, Dave Morley and executive producer Jason Bath who had a shared background in film and TV projects. Fuel VFX specialises in computer generated animation, motion design and post production.
The production house has worked on a wide range of projects across film, TV and and commercials. Administrators Jirsch Sutherland are fighting to keep the company as a going concern and work is continuing on existing projects.
Recent film work has included Prometheus, Mission Impossible Ghost Protocol and The Avengers. TV work has included Nine Network’s Tricky Business. Its recent TV commercials have included work on brands including Optus, Wrigley’s, Leggo’s pasta, Ge and McDonald’s.
Staff of Fuel VFX – which employs around 100 people – were given the news yesterday.
The Sydney-based Fuel VFX was set up 12 years ago by VFX supervisors Paul Butterworth, Andrew Hellen, Simon Maddison, Dave Morley and executive producer Jason Bath who had a shared background in film and TV projects. Fuel VFX specialises in computer generated animation, motion design and post production.
The production house has worked on a wide range of projects across film, TV and and commercials. Administrators Jirsch Sutherland are fighting to keep the company as a going concern and work is continuing on existing projects.
Recent film work has included Prometheus, Mission Impossible Ghost Protocol and The Avengers. TV work has included Nine Network’s Tricky Business. Its recent TV commercials have included work on brands including Optus, Wrigley’s, Leggo’s pasta, Ge and McDonald’s.
- 8/28/2012
- by mumbrella
- Encore Magazine
For the second consecutive year, Encore has chosen a select group of screen professionals who have achieved new heights in 2010/2011, whose decisions influence and shape Australia’s audiovisual industry, and whose work has stood out from the crowd. These are our Power 50.
1. Emile Sherman – Producer
Last February, Sherman became the first Australian producer to receive an Academy Award for Best Picture, alongside his See-Saw Films partner Iain Canning, and Bedlam Productions’ Gareth Unwin. It also won at the BAFTAs and the Producers Guild of America, in addition to the many other honours for its cast and crew.
While technically a UK production, the Australianness of the film is undeniable – and so is its success; with a modest U$15m budget, The King’s Speech has grossed more than $405m worldwide – one of the most successful independent films of all time. Read Emile Sherman interview
2. Baz Luhrmann – Director, writer, producer
There...
1. Emile Sherman – Producer
Last February, Sherman became the first Australian producer to receive an Academy Award for Best Picture, alongside his See-Saw Films partner Iain Canning, and Bedlam Productions’ Gareth Unwin. It also won at the BAFTAs and the Producers Guild of America, in addition to the many other honours for its cast and crew.
While technically a UK production, the Australianness of the film is undeniable – and so is its success; with a modest U$15m budget, The King’s Speech has grossed more than $405m worldwide – one of the most successful independent films of all time. Read Emile Sherman interview
2. Baz Luhrmann – Director, writer, producer
There...
- 6/9/2011
- by Colin Delaney
- Encore Magazine
Just like other drama directors before him, Kenneth Branagh faced the challenge of being an industry veteran, yet a novice in the ultra high budget, VFX intensive level of filmmaking. Miguel Gonzalez reports.
Better known for his Shakespearean work on film and on the stage, Kenneth Branagh was an inspired yet unusual choice to direct the film adaptation of the Marvel Comics superhero and god of Thunder, Thor… and he didn’t hesitate when he was approached to helm this project.
“I knew Thor would be an epic on a scale that I had not worked on before, so I was excited and surprised,” admitted Branagh.
He even finds similarities between the work of Shakespeare and the world of Thor – the Norse god of thunder sent to Earth to learn humility: “They’re both about royal families, the tension between the private world of public individuals, and the jobs they have to do.
Better known for his Shakespearean work on film and on the stage, Kenneth Branagh was an inspired yet unusual choice to direct the film adaptation of the Marvel Comics superhero and god of Thunder, Thor… and he didn’t hesitate when he was approached to helm this project.
“I knew Thor would be an epic on a scale that I had not worked on before, so I was excited and surprised,” admitted Branagh.
He even finds similarities between the work of Shakespeare and the world of Thor – the Norse god of thunder sent to Earth to learn humility: “They’re both about royal families, the tension between the private world of public individuals, and the jobs they have to do.
- 4/17/2011
- by Miguel Gonzalez
- Encore Magazine
Fuel VFX executive producer Jason Bath believes that a higher Pdv/Location incentive is still needed for Australia to be a competitive destination.
“The Pdv/Location Offset is still under official review by the Government, and they know we strongly believe that higher incentive is needed to make us truly competitive,” Bath told Encore.
“We continue to lobby in that regard.”
The 2010 Budget announcement brought a reduced threshold for the Pdv rebate, $500,000 instead of $5m. The sector welcomed the changed, but that doesn’t mean the job is done.
“What the industry has been able to achieve in this budget, however, was a quick response from the Government to help redress some of our disadvantages immediately,” explained Bath. “The impact the lower threshold has is all about the “opportunity” to bid. You have to be in it to win it, and up until now we haven’t even been “in...
“The Pdv/Location Offset is still under official review by the Government, and they know we strongly believe that higher incentive is needed to make us truly competitive,” Bath told Encore.
“We continue to lobby in that regard.”
The 2010 Budget announcement brought a reduced threshold for the Pdv rebate, $500,000 instead of $5m. The sector welcomed the changed, but that doesn’t mean the job is done.
“What the industry has been able to achieve in this budget, however, was a quick response from the Government to help redress some of our disadvantages immediately,” explained Bath. “The impact the lower threshold has is all about the “opportunity” to bid. You have to be in it to win it, and up until now we haven’t even been “in...
- 5/13/2010
- by Miguel Gonzalez
- Encore Magazine
The Location and Post, Digital and Visual Effects (Pdv) rebates have been officially modified to make Australia more competitive to attract international production.
The changes apply from July 1, with the Pdv threshold set at $500,000 (down from $5m). As for the Loction rebate, international productions in the $15-50m range will no longer be required to spend 70 percent of their budget in the country.
The announcement was made as part of the 2010 Federal Budget, and is the result of intense industry lobbying over the loss of competitiveness due to a more expensive Australian dollar and an increase in incentives offered by other countries and Us states. The combination of both factors has seen a considerable number of international features and post-production work lost to other territories.
“Reducing the Pdv threshold to $500 000 will make Australia’s world-class, but smaller, Pdv providers more competitive when bidding for work outsourced by Hollywood studios, increasing...
The changes apply from July 1, with the Pdv threshold set at $500,000 (down from $5m). As for the Loction rebate, international productions in the $15-50m range will no longer be required to spend 70 percent of their budget in the country.
The announcement was made as part of the 2010 Federal Budget, and is the result of intense industry lobbying over the loss of competitiveness due to a more expensive Australian dollar and an increase in incentives offered by other countries and Us states. The combination of both factors has seen a considerable number of international features and post-production work lost to other territories.
“Reducing the Pdv threshold to $500 000 will make Australia’s world-class, but smaller, Pdv providers more competitive when bidding for work outsourced by Hollywood studios, increasing...
- 5/11/2010
- by Miguel Gonzalez
- Encore Magazine
Fuel VFX’s work on the #1 blockbuster Iron Man 2 was not eligible for the Pdv Offset because it didn’t meet the minimum spend threshold, as the post-production sector lobbies for a reduction from $5m to $0.5m.
“I don’t know whether Australia has made us competitive, so we’ve decided to be competitive and get this work on our own merit,” Fuel founder and executive producer Jason Bath told Encore.
“The Australian dollar is almost reaching parity, so we don’t have that edge anymore and our costs are very similar to companies in the Us. The difference would be the rebate, which we didn’t’ reach on this film,” he said.
Currently, the 15 percent Pdv Offset has a minimum threshold of $5m on VFX, animation, audio post, editing, green-screen photography and miniatures work done in Australia.
“We were nowhere near that,” explained Bath. “We’ve been lobbying...
“I don’t know whether Australia has made us competitive, so we’ve decided to be competitive and get this work on our own merit,” Fuel founder and executive producer Jason Bath told Encore.
“The Australian dollar is almost reaching parity, so we don’t have that edge anymore and our costs are very similar to companies in the Us. The difference would be the rebate, which we didn’t’ reach on this film,” he said.
Currently, the 15 percent Pdv Offset has a minimum threshold of $5m on VFX, animation, audio post, editing, green-screen photography and miniatures work done in Australia.
“We were nowhere near that,” explained Bath. “We’ve been lobbying...
- 5/4/2010
- by Miguel Gonzalez
- Encore Magazine
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.