We have called some of the main characters to help us remember a few moments of these 10 years. We want to thank everyone for the time we shared and the good vibes for joining us in this celebration!
|AME VIDAL http://www.amelia-vidal.blogspot.com/|
We opened the studio in a loft on Zapiola street in Nuñez neighborhood. The housing development had a community pool which many members of that incipient Hook Up knew how to wear off (to the neighbors disgrace) while they created the first animations for a project that would become our founding stone. The project was named "A Soñar con Disney" (Let's dream with Disney) and it consisted in a series of 5 spots where different Disney characters told kids that it was time to go to bed. Paradoxically this project slept and was never released but somehow it ended up being the key that opened many doors for us in the industry.
|"A SOÑAR CON DISNEY" - MICKEY - SCENE 02|
|"A SOÑAR CON DISNEY" - MICKEY - SCENE 03|
|"A SOÑAR CON DISNEY" - MICKEY - SCENE 05|
|"A SOÑAR CON DISNEY" - MICKEY - SCENE 08|
|TRITÓN - ROUGH ANIMATION|
|La Feudale, Yayo, Listorti, Freddy, Larry de Clay & Pachu|
|Larry de Clay, El Enviado, La Feudale & El Raportero|
Hook Up Animation / B side - Tom & Jerry / Cartoon Network from Hook Up Animation on Vimeo.
THE RUBBLES - LAYOUTS:
|THE RUBBLES - SCENE 02|
|THE RUBBLES - SCENE 03|
|THE RUBBLES - SCENE 05|
Hook Up Animation / The ABC's & 123's with Pooh / Walt Disney Special Projects from Hook Up Animation on Vimeo.
|RITO - ROUGH ANIMATION|
|STAIRWAY TO HEAVEN|
|THE KITCHEN AND THE PING PONG TABLE|
|LA PECERA - POS|
|VERO AT THE FRONT DESK|
|KECHU, DIEGO PUENTE & GONZALO AT THE BACKYARD|
|POOH - ROUGH ANIMATION|
|GONZALO, TIEGA, OMAR & JOCHE|
|DIEGO , GONZALO, OMAR & JOCHE|
Enthusiastic and happy with Hook Up, yhe people of Disney put us in charge of the Opening of the serie Lilo and Stich. Chuki Badala!
|MILI AT HOOK UP|
|LEANDRO & LA MAMI|
|Artilleros versión 2011 - Foto Pablo Lorenzo|
Fernando sigue poniendo a prueba su suerte y nos encomienda los diseños y la animación de una nueva serie, La Liga de Los Heroes Innecesarios. Innecesario.
|Episodio "Holly Caliente" - Scene 23|
|Episodio "Holly Caliente" - Scene 24|
|Episodio "Holly Caliente" - Scene 24|
Hook Up Animation / Open Season / Ring Tales from Hook Up Animation on Vimeo.
|GOOD BYE ARTILLEROS...|
|DIEGO PUENTE AT COMMAND|
|1º ANIMATION DEGREE COURSE|
|GONZALO AT PROMAX|
|ANA , PAXTON & CARLO DE CARTOON NETWORK - DIEGO & JOCHE FROM HOOK UP|
|JUAN CANCELLERI - AMELIA - JULI - EL GALLO - DANIEL DUCHE|
Mosca & Smith en el Once - Animatic apertura
|TO GALVAN 3465|
|THE LITTLE TREE|
|HOOK UP'S WINDOWS|
|AME & FRANCO AT PRE PRODUCTION|
Hook Up - 10 years, and part of history
Although in Argentina the first animated feature film was made in the year 1917, our country never had a great flow of productions, nor a continuity in the productions, that would allow the art of commercial hand-drawn animation to develop to the point of reaching a level according to the international market.
However, we must emphasize, that there were along the years great attempts and bets, that taking the form of studios or teams made it to materialize specific projects, they contributed considerably to the development of the artists, and therefore to the development of the art of animation, in a country where one who aspires to train as an animator, has to do so by working.
I allow myself to point out chronologically the moments I consider most important:
- The feature film "Upa en apuros" produced by Dante Quinterno in 1943, is maybe the first approach to the American standard of commercial production. The final product is a piece of considerable level for the time, and it's known that the very Dante Quinterno visited the main animation studios in America, and even hired foreign artists who came to the country to capacitate the cartoonists and collaborate with the production. Unfortunately that is the only fruit of that outstanding company.
- Gracía Ferré's productions between the 70's and 80's allowed the making of several feature films, and gave continuity (training) to another generation of cartoonists.
- The studio assembled by Jaime Díaz in the beginning of the 80's and middle of the 90's, brought to the country the American method for production of television animation, the making of productions for abroad, and was the school for many young artists.
- During the last years of the 90's decade multiple local feature films productions are generated, doubling the amount of job positions, and this implies the need to incorporate new manpower to the animation scene. However, in all of these cases the production times were too short, the budgets too low, and quality products are not achieved.
- Entering the new millennium, the economic situation of the country reduces notably the production of local products, but favors again the possibility of producing for abroad. It's within that context that "Hook Up" is born. And it's here where we'll make a stop, around the celebration of the 10 years of the birth of this studio, and pass to analyze why it's worth to point out "Hook Up" in the history of animation in Argentina.
I warn you that this analysis is based on my very own experiences inside the studio, working as an animator, in the period that goes from the beginnings of the year 2003 until May of 2005, period in which the Studio gave its services mainly to "Cartoon Network", "Boomerang" and "Disney Home Video".
Just like big companies looked for services in a young company led by artists that gave their first steps as enterprisers, these enterprisers, opted to summon young artists with little road travelled, but with hunger and capacity to take over these challenges. And it's this conjunction of elements that generates the studio to produce pieces of considerable degree, at the precise level of the client's requirements, and elevates a few scales the standard of quality of commercial animation in Argentina.
There's no doubt certain factors exist that favored this step to be taken, and, even though they might seem essential matters for any production, they were not common in Argentinian studios:
-The production times, in most cases, were according to the requirements of the product. The animators counted with more time than we were used to in other studios and that allowed us (though we charged by animated second) to face more calmly our job, to polish the drawing better, and even to check the assistants and in-between artists' work.
-The studio implemented (by the animators' request) the everyday pencil test. Animators had the chance to test our animation sketches at any given moment and as many times as we considered necessary.
-The most skillful cartoonists of the studio (used to work in the layout area), checked and adjusted the characters' model.
-There was training in terms of drawing for the members of the team, and forming for the new employees.
-The exigency increased notably at clean up, with a very tight supervision of the final drawings.
-The boards had discs!!!
-The background artists copied exactly the aesthetics of the television shows
-The digital composition of the shots was carried away with very good eye and criteria.
-In terms of motivation, working with classic characters, was always a plus when facing the shot. Although numbers of times we worked without "model sheets" and we had to take references of the character's model from photocopies of some book, or screen captures from bad quality videos.
Some of the artist that worked at "Hook Up" through those years, were fully conscious that these factors, that added to quality had to be seized. We were standing in front of the possibility of doing our job in very different conditions than we were used to, and many of us knew how to benefit from that. (And if the artist elevates it's level, the studio elevates its level, because the studio's quality is guaranteed by the artists that form part of the team). Ten years ago, we were ten years younger, and even though some of us had been walking longer, the years at Hook Up were the real starting point of our careers.
Today is worth to highlight Hook Up as one of the studios that left their print in the history of argentinian animation, not only for elevating the quality standard, but also, for being a place of learning and growth for many artists that nowadays are key pieces in the main studios and productions of our country, and that will might be the ones to take the lead of history.
Thanks Hook Up
Ignacio Carlos Ochoa
|FRANCO SPAGNOLO http://francospagnolo.blogspot.com/|
|ROBERTO CRUZ http://rodanz.blogspot.com/|
|JUAN CANCELLERI - http://juancancelleri.blogspot.com/|
|EL ABUELO DE GILLIGAN|
|EL HOMBRE MONTAÑA|
|EL PIBE BAZOOKA|
|I TELL YOU|
|OMAR Y GONZALO|
|OMAR Y VERO|
|LAS ARTACHAS MARTA Y ANA|
|CAMBIAGGIO Y ESTEBAN|
|DIANA, EUGE Y ANTO|
|DIEGO PUENTE Y JUANCITO CANCELLERI|
|MARCELO Y EL VIKINGO|
|KECHU Y MARIAN|
|MARU Y MARCELO|
|SAWA Y FRANCO|
|CARLITA Y VERO|