Outstanding Pre-School Children's Animated Program 2015, 2016, 2017 (Nominated)
Outstanding Directing in an Animated Program 2016, 2017
Outstanding Individual Achievement in Animation: Character Animation 2015, 2016
Outstanding Individual Achievement in Animation: Colorist 2015, 2016 (Nominated)
Outstanding Individual Achievement in Animation: Production Designer 2015
Outstanding Individual Achievement in Animation: Character Designer 2015
Outstanding Sound Mixing - Preschool Animated Program 2017 (Nominated)
Outstanding Sound Editing - Preschool Animated Program 2017 (Nominated)
Best Animated TV/Broadcast Production for Preschool Children 2015, 2016, 2017
Outstanding Achievement for Character Animation in an Animated Television/Broadcast Production 2015 (Nominated), 2016 (Nominated)
Jury Award for a TV Series 2014
Gold Award 2015, 2016, 2017
YOUNG ARTIST AWARD
Best Performance in a Voice-Over Role 2015
YOUNG ENTERTAINER AWARD
Best Ensemble Cast Voice-Over 2016
Creating Tumble Leaf Step By Step
A Visual Tour Of Our Process
Miro, a blue boy, cheers up a sad whale.
Miro transforms into a blue fox.
Miro becomes Fig, the fox.
Fig Gets A Few New Friends
A show bible is developed with focus on PLAY.
Scripts, Sound & Story Boards
Creating The Story
Scripts are written. Character voices are cast and recorded. Director and storyboard team craft a moving template using many drawn pictures paired with the sound track... An animatic is born.
Building The Characters
Each puppet is sculpted per the director’s design. Molds are made. Ball and socket armatures (skeletons) are machined to fit inside. Puppets are cleaned, sanded and assembled and, lastly, hand painted.
The Clothes Make The Puppet
Costumes are designed and patterns created in tiny sizes, scaled to perfection, hand stitched, knitted, dyed and treated with wire or foil so they can also be animated.
Set / Color Design
Creating A New Little World
Sets are designed, constructed and painted with the parameters of camera angles, reusability and scale in mind. Using a combination of techniques, the art department creates a variety of props to dress the sets and to be manipulated by the characters.
Camera & Lighting
Setting the Camera and Lighting the World
Our Director of Photography sets the camera and his team begins to paint with light. Orange gels and dapple for sunny forest scenes, and cool blues for bedtime storytelling!
Making It All Come To Life
Once puppets, sets, and specific props are placed on one of our nineteen stages, and lit by our Director of Photography and his team - Animation begins! Each animator goes over the shot with our director. An animator, on average, shoots approximately 200 frames or 8 seconds of footage per day.
Post and VFX
The Final Touches
Most editing is done in the animatic stage, so not much cutting remains. However, rigs must be digitally removed; light flickers, set bumps and camera smudges must be fixed; and holes in the characters’ hands, feet or drilled into the set must magically disappear. The VFX artists also add any effects that were not done in-camera – such as large bodies of water, reflective shines, bubbles, skies, etc.