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Xanthus Digital Picture Ltd (Taiwan)

 

Xanthus Digital Picture Ltd (Taiwan)

 

Elevator pitch Taiwanese production house Xanthus focuses on developing and producing full 3D animation and character design. Mostly involved in animation for kids. Very keen on regional and international co-production.
Most recently in the headlines for... Selling Traces, a co-pro with Swiss animation studio Animagination, to global channel KidsCo. Traces is KidsCo's first Chinese animated acq-uisition.
Who's who Bruce Yao, CEO; Chris Woo, executive producer; So.a, creative director; Dennis Cai, animation director
Full time employees 25
Production hours a year 312 mins TV content
Budgets about US$1.5 million per TV season
Equipment and facilities 3D software: Maya. 2D software: Photoshop, Aftereffect. Editing film software: Adobe Premiere. Develops render farm management system in-house. Has 50 PC workstation computers. HD capabilities: 3 PC workstations and HD monitor, AdobePremiere editing.
Recent productions Traces (2010), 24x13 mins. Synopsis: A time-travelling adventure that opens when highway construction near the village of Cat-Mountain uncovers an ancient cave filled with skeletons. Carla and Toni follow the cat and the crow into the cave, and enter a world of 400 years ago, filled with beauty but also the cruelty of colonising forces against Aboriginal culture. The cat becomes Ona, the incarnation of good, who fights on the side of the Aboriginals. The crow transforms into the three-eyed Corbu, the cruel gover-nor of the ancient island and incarnation of evil. Carla and Toni become involved in the struggle between good and evil, using their modern knowledge to help the oppressed people of the 17th century. They also learn from the ancient inhabitants the importance of respecting nature, protecting the environment, and how to master present problems and create a
better future with experiences from the past.
Yameme (2011) 26x12 mins. The story of cheerful and mischievous Yameme and shy prince Demio takes place in a world of monsters where there are only two cities – one in the East and one in the West. The huge cultural differences create many conflicts. Trying to solve the problem, Western prince Demio relocates to the lively Yama City in the East as a diplomat. There he lives with all kinds of Chinese monsters ruled by Chinese Monster King Yama and his daughter Yameme. Through Demio and Yameme's adventures, audienc-es see how earthquakes are caused by an underground bull monster, and how a flying dog causes moon eclipses, and also how Yameme helps the Monkey King rescue his master. Winner of Asia Television Forum SuperPitch.
Co-produces with Swiss Animagination, Swiss maunoir studio, Malaysia Frame Motion.
Rights arrangements Keep all rights and distributes its own content with partners such as Allrights Entertainment (film), Portico Media (VOD), Imagic Media (DVD marketing),
Icon Connecting Creativity (merchandise), Ching Win Publishing Group (publishing)
Thanks... among others, the Taiwan government's Industrial Development Bureau and Government Information Office for its support in growing the business from a service outfit
to developing its own content and brands.
What would you most like to see happen in Asia's production industry? "In recent years, there are many companies working hard on developing content for their own animation in the Chinese animation industry. I hope that in the near future, among the Chinese animation industry, star corporations similar to Disney, 20th Century Fox and Dreamworks will be born." Bruce Yao, CEO
If there was one thing you would do to make a positive difference to local production in Asia, what would it be?
"I would like to develop animation with African content because African culture is full of exoticism to us. African art and imagery have great potential to be developed into animation. Also, Africa might be full of business opportunities in the fut-ure, like China and India now." Bruce Yao, CEO
What's the hardest part (if there is one) of producing television content in Asia? "The hardest part is the

content length. People demand animation to be broadcast daily instead of weekly in Asia. It is very tough and painful for the producers and directors to quickly produce animation ingreat quantities and high quality." Bruce Yao, CEO

 

 

 

 

 

 

 

 

 

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