Down Under Animation Rising: Glitch Productions on Independent Animation Episode 11

Down Under Animation Rising: Glitch Productions on Independent Animation Episode 11

Down Under Animation Rising: Glitch Productions on Independent Animation Episode 11

– In the eleventh instalment of Skwigly’s podcast series “Independent Animation,” Mel Cionco interviews Jasmine Yang.

Jasmine Yang: Animation Down under and up in the clouds

– Jasmine Yang is the General Manager and Development Producer at Glitch Productions, one of the biggest web animation studios in Australia.

Meeting the minds behind Glitch Productions

– This podcast episode provides a full-frontal foray into the goings-on at Glitch Productions, giving listeners an inside peek into its development and animation production process.

“Hopping into the creative pouch of Australia’s largest web animation studios, Glitch Productions has been tickling our animation taste buds in their most recent interview on Independent Animation. Whether it’s making a bilateral boogie with our right and left brain, or giving us a backstage pass to the animation concert, it seems like Glitch and Jasmine Yang are not only skipping the kangaroo, they’re teaching it to do cartwheels! Businesses and animation lovers alike should tune in, if for nothing else, then to hear an Australian accent talking about drawing cartoons – it’s rarer than a Tasmanian tiger sighting!”

Join us for episode 11 of Independent Animation, a podcast aligned with the Skwigly book Independent Animation: Creating, Process, and Promotion of Your Animated Films (Taylor & Francis/CRC Press). Our host, Mel Cionco, chats with Jasmine Yang, Senior Manager and Production Developer at Glitch Productions.

Theirs is a tale of success – from YouTube personas to one of the biggest web animation studios in Australia. Kevin and Luke Lerdwichagul found fame by channeling their humor into unique online content.

Transforming their focus to independent animation, they formed Glitch Productions, and expanded their portfolio producing ground-breaking animated series that stood out from the conventional studio system, with shows such as SMG4, Sunset Paradise, Meta Runner, and Murder Drone.

Their latest CG venture, The Amazing Digital Circus, made by indie artist and musician Gooseworx, has been immensely popular, gaining an impressive 180 million+ views just two months after its release. Viewers describe it as ‘a sarcastic dark comedy about adorable cartoon characters desperate to escape their existence.’ The show already has a large, ardent fanbase and the studio is hopeful for a full season of eight episodes soon.

Apart from Jasmine Yang’s interview, Mel also had the chance to converse with The Amazing Digital Circus creator, Gooseworx, via email:

As a solo animator and YouTuber, how has the shift been from solo animation to leading a team in creating a full 3D animated pilot?
It’s much more complex than one might think initially. Picturing everything from the point of view of numerous people and conveying subtleties effectively is a completely different skillset that took me some time to get comfortable with. The perks of solo work include being able to make changes spontaneously and being slightly disorganized without much consequence – this isn’t the case in a full-fledged production pipeline, where you must clearly define your vision.
What advice would you give to other independent animators looking to embark on such ambitious projects?
For those starting, it’s a tough journey filled with hard work. Success may not come overnight. One needs to strike a balance between dreams and the reality of the situation. I acknowledge I’ve been quite fortunate, but there are many talented friends struggling to finish their passion projects while also making ends meet. My friend Zeurel is a testament to their resilience. Remain constant in your efforts, but be ready to adapt as well.
What were some of the challenges you encountered during the production of Digital Circus?
Oddly enough, technical difficulties were not a major issue. The gifted team managed to bring all my eccentric ideas to life, even those they had doubts about at the start. The biggest challenge for me is time management. I have a tendency to write lengthy scripts and require significant pre-production time to ensure I don’t overrun our limitations with unnecessary inclusions.
Did the production process let you incorporate, produce, and display all your initial ideas? If not, what was the biggest change you had to make?
All the essential elements made the cut. Most of the deleted scenes are failed jokes or segments that were more effective and entertaining in a concise format.

Hosted by Ben Mitchell and Mel Cionco
Produced by Ben Mitchell
Interview conducted by Mel Cionco

Music by Ben Mitchell


Original article: https://www.skwigly.co.uk/podcasts/independent-animation-11/