Magnolia animation nominees reveal the art and tech behind their creations

The creative talent behind three animation series nominated for the Animation section of the Magnolia Awards shared insights into their production processes at a Shanghai TV fest forum.

The forum, titled "From Niche Breakout to Evergreen Legacy: Extending the Value Horizon of Animation Ips," was hosted at Shanghai Exhibition Center on June 25 by the festival and Tencent Video Animation.

A joint production of China, the United States, and France, the League of Legends second series, "Arcane Season 2," won all seven categories it was nominated for at this year’s Annie Awards. By topping the charts in 63 major countries and regions, it achieved remarkable box office returns on its opening day.

Pascal Charrue, creative director at Fortiche Production and co-executive producer of "Arcane Season 2," underscored the team's dedication to exceeding the heightened standards set by the first season.

"Our objective is to create animations that meet cinematic standards, and we implemented rigorous quality control measures throughout the production process," he said.

"This animation features a multitude of action sequences, which have been produced with high-quality animation techniques," Charrue added. "Also, our narrative is set across three distinct cities, providing viewers with a diverse array of scene transitions."

In discussing his feelings about being nominated for the Magnolia Award Animation, he expressed great honor and aspirations for deeper engagement with the Chinese market.

"I hope to acquire a more profound comprehension of Chinese culture and its audience," he said. "In the future, we also aim to create works that can meet the expectations of Chinese audiences."

Hu Haoliang, director of "Under the Night," shared the highlights of his production, which has been nominated for Best Animation and Best Animation Screenplay at this year’s festival.

"Animation functions not merely as a form of entertainment but also as a conduit for conveying values and cultural richness," Hu asserted.

"In our creative process, we have incorporated a multitude of elements from both Eastern and Western mythologies, with the aim of providing the audience with a distinctive experience."

He emphasized the team's ambition to showcase the innovation and limitless potential of domestic Chinese animation during this dynamic phase of the industry's development.

"Nirvana" director Liu Di discussed the advanced techniques applied in producing the animation.

"The three characters in 'Nirvana' have distinct personalities—the fugitive is extroverted, the fake monk is reserved, and the swordsman is composed," Liu explained.

"These character traits are vividly portrayed through physical expressions, which is one of the conveniences brought by advances in skeletal processing technology."

Delicate character expression transitions and extensive dialogue were portrayed by using 3D printing technology, Liu added. And the application of digital cameras to stop-motion animation enabled full lens scheduling within limited spaces.

At the subsequent round-table forum, several animation experts offered their insights on the creation of high-quality works in the current cycle.

Warning against pursuing instant success, Wang Maomao, an animation director, said that animation production should focus on creating high-quality content to resonate authentically with the audience.

Jia Xiaotao, the founder of NewSound Pro, added, "The essence of animation production lies in continually introducing novel aesthetic styles, innovative narrative approaches, and fresh storytelling methods. This ensures audiences consistently encounter new and captivating experiences."