Welcome to TVPaint Community forums !

"I made the St. Trinian’s test on frosted cel with a nib and ink.

I then did another test on TVPaint, and compared both, and you couldn’t see any difference.

We’re planning to do [Molesworth] all on tablets — I don’t think you could find a big enough crew who could handle frosted cels and ink tracing.
The teaser was drawn in TVPaint. We’ve used a lot of textures that were hand-painted, hand-drawn, to create backgrounds. All the characters and layouts were drawn digitally."

Camilla Deakin (producer): Because there are quite a few films made in Ireland, France, Spain, increasingly in traditional 2d, and quite often in TVPaint. The very top-flight 2d animators that have feature-quality skills are in demand, and tend to be a fairly mobile workforce — or they work from home.

Uli Meyer: I’ve got lots of friends in animation all over the planet. I’d have a wish list of animators who I’d love to work on this film, and I know a lot of them want to. I think there’s a lot of new, amazing talent out there, especially on Klaus.

I think there’s a 2d revival; if you’re very good at it, you can still have a career.

Camilla Deakin: I’d agree with that. When we did ‘Ethel & Ernest’, we had a bit of a shortage of artists. So we reached out to all the animation schools in the U.K. that had 2d courses, and set up some training with ScreenSkills[’s Animation Skills Council].

We trained them up in TVPaint, and I have to say that some of the people who came up through those schemes are now among the best animators in the industry.