Disney

A Look At The Disney Channel

Animation, Disney /

Via: TV With Thinus

This week, I’m sequestered in lovely Western New York; a quiet part of the country where not a lot happens in the winter because of the snow. So that’s a pefect excuse to stay warm indoors with some TV, and while there is a lot a Top Gear on BBC America, there is also the four kid’s cable channels: The Disney Channel, Cartoon Network, Nickelodeon and newcomer, The Hub.

So using this extended time off, I figured I would write an overview of the four channels. Today, it’s the turn of the Disney Channel.

Started by Ron Miller back in the 80s the channel is unique in that it carries no  commercial advertising whatsoever. Although you should not construe this a as no advertising whatsoever, as the channel still has breaks where shows from other Disney channels, Disney films and misc. things are presented to the viewer.

The range of animation is a bit more limited than it used to be. As of right now, besides the pre-school shows, Phineas and Ferb and Fish Hooks take up the majority of the animation aimed at older kids. However, where the Disney Channel excels is that it can draw upon the vast, vast, vast library of the Disney Company and it regularly broadcasts movies that are rarely seen anywhere else, such as Snow White, Aladdin and pretty much all the Pixar films.

A direct comparison with its competitors is a bit unfair though, as Disney recently nixed Toon Disney in favour of starting a new channel aimed at boys, hence Disney XD and its own share of animated programming (namely Kick Buttowski).

Overall, the Disney Channel isn’t perfect, but it isn’t completely horrible either. It would just be nice to see more time for animation and less for mind-numbing kidcoms that burn through their child stars at a faster rate than I go through delicious Tim Hortons coffee.

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The Atlanta Braves Oppose Pixar’s ‘Brave’ Trademark Application

Animation, Pixar /

Hilarious image shamelessly yoinked from Filmdrunk

I’m really not quite sure what to make of this. According to /film (who got it from Stitch Kingdom), the Atlanta Braves baseball team have filed an objection to Disney/Pixar’s use of the word “Brave” as a trademark for the upcoming film, Brave.

Trademark law make a distinction between singular and plural versions of a word, but that has not stopped the baseball team from claiming that:

that damages will occur as a result of Disney’s trademarks being approved as they have used the singular form before on merchandise and insist it is common for fans, media, et. al. to use the singular form when referring to a single player, whereas the pluralized form refers to the entire team.”

Long story short, they’re saying that by Disney trademarking ‘Brave’, poor Joe Public might get confused between a baseball player and a red-haired Scottish heroine who lives in the middle ages.

Yup, that sure is real confusing, especially as one is an actual, real-life team of people playing sports for money and the other is a fictional character who only exists within the film (and on related merchandise).

There’s no way this objection should fly although, as ever, “discussions are ongoing” between the two parties. So expect an “agreement” to come eventually.

Just what a waste of resources though and it doesn’t exactly put the Braves in a good light either, what with the pettiness of their claim and all.

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Some Kim Possible Character Details Which You Know Are Awesome

Animation, Disney, TV /

For the record Kim Possible is one of the best characters ever to grace a TV screen. So it should come as no surprise that her character constructions sheets, which came by way of Art of Animation and Inappropriate Banjo (both on Tumblr), are no less interesting.

Kim’s a fascinating collection of sharp points and swirling curves that oh so cleverly allude to her double-sided life as an ordinary student and ass-kicking heroine.

Here, we see some of the finer points of her character design in her hair, which undoubtedly adds much grace to her movement in the action scenes.

It’s always great to see these kind of things, especially as they essentially offer us a peek into a character’s soul (per se).

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Four Signs That We’re Seeing A New Version of the 9 Old Men at Pixar

Animation /

Via: John K. Stuff

Is the “brain trust” the modern version of Disney’s 9 Old Men, and if so, are we doomed to see the same results when they retire? Here’s four reasons why history may repeat itself.

1. They’re both small groups

You can count the members of both groups on one hand. The respective members are innovators and experts in their fields.

2. They’ve been together since the beginning

Or near the beginning. Both groups were established as their respective studios were trying to find their norms and their tight-knight as a result of the challenges they faced at the start of their existence.

3. They’re THE Source for Ideas

Both groups were/are the go-to places for ideas. The 9 Old Men were experts at animation. The Brain Trust are renowned for their ability to create superb stories and films.

4. No New Permanent Members

The 9 Old Men began as 9 old men and remained that way throughout their existence. No-one ever joined and the only time anyone left was as a result of natural causes. The Pixar Brain Trust is eerily similar, there doesn’t seem to have been any permanent changes made to its makeup at all since its inception. Yes, Brad Bird and Brenda Chapman were members, but they have since moved on, and there is little indication that anyone has managed to get themselves “promoted” to fill their places.

The signs are ominous. The Pixar Brain Trust has had fantastic success, but it is resting on its laurels. Relying on the same people is a recipe for trouble. Disney began a protracted period of malaise in the 1970s, and as of now, history appears poised to repeat itself in Emeryville.

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DreamWorks Really Is Pushing The Envelope

Animation, Disney, DreamWorks /

Yes, DreamWorks really is pushing the envelope, the release envelope that is. Here’s what I read this morning over on the Animation Guild Blog that really made me take a minute just to think about it (emphasis mine):

There is a squadron of other features are lined up on the tarmac, but I won’t bother rattling them off, since you can see most of them listed here. (It dawns on me that by 2014, DWA will have thirty animated movies out in the wider world. By contrast, Disney’s fifty-first feature — after 73 years, came out last Spring.)

You could easily argue that DreamWorks isn’t as diversified as Disney, nor has it ever put out even close to the same volume of shorts. However, the fact remains that as far as animated features go, DreamWorks is certainly cranking them out.

Now you can read this any number of ways you like. Be it that the fact that Disney is diversified means they do not need to rely on aniamted films to bring home the bacon, that things were different back in the old days or even that Disney has such a strong brand that they can afford to coast on films for years after release in contrast to DW which must continue the releases to bring in the dough.

I tend to believe that DW does need to continually release films, hence it’s faster production rate. However, the time will come when DreamWorks will have earned a legacy that is strong enough for it to slow down a bit. That day is still a bit far away, but it is drawing ever closer.

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Does it Really Make Sense to Rent Animated Content Via YouTube?

Animation, Disney /

As The Hollywood Reporter mentioned last week, the Disney Studios is following hot on the heels of the interactive unit in partnering with YouTube to deliver content. Not original content mind you, but content nonetheless.

So the question is, why “rent” films via streaming? That makes little sense. Just let me buy the thing. It’s essentially the same cost to the studio either way, right? I mean I have to download a copy of the film regardless, and the bandwidth has to be paid either way, so why not just let me store it and re-watch it again and again?

Heck, why would I pay to watch it just once when I can hit up the bittorrents and download it for free and without restriction? What’s the difference then? If you’re charging a minimal amount to “rent” it, the marginal difference between making me pay for it and giving it away for free is minimized. The result is that, I, as a consumer, am likely to pick the method that delivers the best value; i.e. downloading the version that I can watch again and again.

I’m decidedly curious to see how this turns out. The last time major studios attempted a streaming “rental” business model, they charged people $30 a movie, and the whole thing fell flat on its face.

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Disney? Partnering with YouTube?

2 Comments / Disney /

 Via: Animation Magazine

As was announced yesterday (although I can’t find the press release because, well, their a wee bit behind on updating their website) Disney has agreed to partner with YouTube to create custom content for the streaming website. This is interesting on a couple of fronts but mainly because it seems to run counter to what the company as a whole has been saying in regards to the internet.

The main media outlets have discussed the deal and what it will cover but what about the details, the nitty gritty. There’s a lot of talk about “interactive content”, “family-friendly videos”, “user-generated” and so forth but at the end of the day, what does that get you?

This is where animators need to pay attention because it’s easy to get swept up in the rush to interact with your customers. There’s no right way to do it, but there are plenty of false leads out there.

For Disney, sure, this interactive partnership is a great idea, but unfortunately its likely to be dead in the water if it can’t get other divisions of the company behind it. Case in point, the film studio. If the company is trying to engage fans, they would be much better off to allow fans to use the original source material but as we all know, Disney videos get yanked from YouTube barely after they make it up.

This seems to send a mixed message. On the one hand the company is attempting to engage with consumers but on the other, its trying to push them away. This is the unfortunate result of a large conglomerate having different parts moving in different directions.

Animators need to look at such behaviour and be able to do so in an objective manner. Which direction would you choose? Is it better to trust your fans or lock up your content? Plenty of you out there are extremely reluctant to put your films on YouTube. That’s grand, but unless you’re Bill Plympton, you’re only hurting yourself in the end.

As for the Disney/YouTube deal, expect to see a bit of content come out but it will be hamstrung by the former’s corporate guys from ever using some of the more valuable material. Expect the entire thing to die a quiet death in a few years (or not).

All in all, it seems YouTube is the big winner here. Having a name like Disney attached is sure to give them the leverage they need to strike more deals. Keep an eye on them.

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Four Reasons to Demolish The Disney Vault

Animation, Disney /

 Via: The Orlando Sentinel

 The “Disney Vault” is the term used by Walt Disney Studios Home Entertainment for its policy of putting home video releases of Walt Disney Animation Studio‘s animated features on moratorium. Each Disney film is available for purchase for a limited time, after which it is put “in the vault” and not made available in stores for several years until it is once again released.

So says Wikipedia.

We all know about the Vault. It’s pretty much been around as long as I’ve been alive, although the Wikipedia article feels it goes all the way back to when Snow White was re-released.

The thing is, in the 21st century, is the Vault even relevant? Here’s a few reasons why it isn’t.

1. DVDs outlive VHS tapes

Yes, back in the day, you bought movies on real tapes that you had to rewind if you wanted to watch again. What everyone seems to have overlooked since the advent of DVDs is that tapes wore out and lost quality the more they were played. DVDs can be played “forever” without any degradation. The end result? The second-hand market for DVDs is much stronger than for tapes and sll those copies of Vault films that are lying around in empty nests have a habit of making it onto eBay.

2. The Vault Doesn’t Make The Films Any More Valuable

Think about it. If you lock a film away for a number of years, does that make it any more valuable? Of course not! Less people can watch it an appreciate it. Right? So if you had to make a decision, would you try and keep a film locked up as much as possible or try and get as many people to see it as possible? Exactly! You’d want the latter so you could sell more merchandise!

3. If You Broadcast The Films On TV, Doesn’t That Make The Vault Moot?

For this one, we have to assume that the studio isn’t attempting to stop people from seeing the films, just from “owning” them. Why? They broadcast the vaulted films almost constantly. You couldn’t find Aladdin on DVD for love nor money but you could easily throw on [shiver] ABC Family and see it being broadcast. The same goes for Snow White, which was supposedly in the Vault until recently but was broadcast last Christmas! Now if that doesn’t send confusing signals, I don’t know what does.

4. The Obvious Reason

Legality aside, the commercial reasons for locking up content are becoming increasingly irrelevant. If I can’t find something in the shop (or online through legal avenues), what is stopping me from wandering over to the bittorrents. My conscience? Oh sure, Disney would like to believe that Jiminy Cricket is sitting on your shoulder telling you no to “pirate” that copy of Pinocchio, but the reality is that he’s just not there for a lot of folks.

Ever growing numbers of internet-native kids are growing up with the notion that all forms of entertainment come from the internet. If they’re led to believe by just about everyone that they can get whatever they want whenever they want it, why should they think they have to wait around for years for something to be “released from the Vault”.

The answer is, they won’t and Disney will be all the poorer for it.

Conclusion

Disney really ought to re-think the limited-release strategy that they’ve branded as the Disney Vault. In this day and age you can’t help but feel its self-defeating on a number of levels and besides, if people want to see the content, they will see it regardless.

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Remember, It’s Not Your Idea, It’s Your Interpretation of It

1 Comment / Animation /

Yesterday, over on the  Cartoon Brew Biz section, I read an announcement that the Disney Channel has ordered a pilot for broadcast in 2012 tentatively called Zombies and Cheerleaders.  Now I’m not so sure about yourself, but when I read that title, the first thing that popped into my head was this:

Yes, it’s the Zombies Vs Cheerleaders comic by Stephen Frank et al at Moonstone Books. Similar topic, very similar title.

On the surface they look much the same, however each composition is/will be hugely different. The TV show is described as follows:

The story follows Zed Necrodopolis, a typical high school student with one small caveat; he happens to be a zombie. Despite a high-tech wristwatch designed to curb any appetite he may have for his classmates, he and his zombie friends remain unpopular with the school’s most influential group, the pom-pom wielding cheerleaders. Never one to back down from a challenge, Zed sets out to improve zombie student body relations and win the attention of Addison, the cheerleading squad’s newest member.

In contrast, the comic is described as:

Morbid or funny, and sometimes morbidly funny, top talent bring eclectic tales of Zombies vs Cheerleaders in this best-selling anthology series. Based on the hit sketch card series from 5FINITY Productions, read the exciting stories of the two things everyone loves: zombies and cheerleaders!

So while they appear similar on the surface, featuring zombies and cheerleaders, they differ greatly when it comes down to actual content.

This is something to be very aware of if you are writing or creating your own material. You can’t copyright ideas, only exceedingly similar interpretations. This is why we continue to see new versions of Alice in Wonderland despite the fact that the Disney version is the de facto story as far as the masses are concerned.

So don’t be afraid to use someone else’s idea for something personal you’re working on, just so long as it’s different or heads in another direction. 🙂

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