D. Pigeon, Filmographie _ Studio d’animation_1_revu par Suz._sans crochets

Radio-Canada’s animation studio

What follows is a brief history of an animation studio that, while never officially recognized as a studio, nevertheless built itself an international reputation!

Frédéric Back first began doing occasional bits of animation for Radio-Canada in 1954. These animated sequences for television, for both general-interest and youth programming, were created under the most rudimentary conditions, with precious little besides outdated equipment, good will and bits of string or whatever.

The programChants et danses du monde, which Radio-Canada began airing every two weeks starting in 1952, required an enormous number of drawings to illustrate the costumes, architecture, landscapes and lifestyles in the different places visited around the world. With image changes every five seconds, Frédéric Back had to produce 10 to 15 drawings a day. In the course of this work, he began experimenting with cut-outs and requesting camera movements to bring the drawings to life. He soon realized that this could permit them to stay on screen longer and also offer occasional little surprises for the viewers.

(Video 1: V_0599)
Video clip showing Frédéric Back working on an illustration. Radio-Canada, Orientation, 1962, 00:35
For the nature series Les mystères de la planète, hosted by Jean-Louis Millette, Frédéric Back created simple animations on film, using an “Animographe,” a rudimentary projector with a hand-operated control for feeding the drawings one at a time. This allowed him to sync the images with the words—an important consideration since the show aired live. The method worked well enough that Fernand Séguin asked him to create 16mm animated sequences for his series La science en pantoufles to feed the image-hungry medium of television. Liens pour animographe:

“In Scaramouche, the animation was shot with a Bolex, frame by frame. The camera was attached to a heating pipe, and the radiator served as our animation stand. These 8½ minutes of animation were made during three crazy weeks of working round the clock,” Frédéric Back recalls.

(Video 2: V_0606)
Frédéric Back talks about the early days at Radio-Canada and the range of experience he acquired in working for the fledgling broadcaster. Radio-Canada, Ciné-Magazine, 1977, 02:00
(Video 3: V_0607)
Frédéric Back explains what an “Animographe” is. Radio-Canada, Ciné-Magazine,1977, 00:29

Beginnings of a professional animation studio

In 1965, Hubert Tison, a visionary young animator, convinced Radio-Canada management of the need to establish an animationstudio where artists could devote themselves full-time to the medium, creating high-quality opening credits, promos for upcoming episodes, and creative films to be included within the different programs. But not enough such films were requested for the filmmakers to acquire the necessary professional experience.At that time, almost no television stations had in-house animation departments that would let staff makepersonal films too. The project became a reality in 1966. For administrative reasons, the unit was called the animation department or section; it was never officially a studio.

(Illustration 1: D_1742)
Cartoon drawn by Frédéric Back showing Hubert Tison trying to get his studioup and running.

The following year, Hubert Tison obtained permission to buy a 35mm Oxberry animation stand and hire a cameraman with the necessary expertise to operate it. He recruited a number of artists who had been employed as illustrators, and took on the role of producer to oversee their work and keep standards high. He invited Frédéric Back to join the unit in 1968, and the young illustrator jumped at the chance, hoping one day to make animated shorts based on his own scripts. “Knowing Hubert’s work and training and the fact that his team consisted of talented artists with a wide range of experience, I was sure I would learn a lot about the latest techniques. In that kind of environment, each film becomes a learning experience.” F.B.

(Illustration 2: P_1120)
Cartoon in which Frédéric Back pokes gentle fun at Paul Webster, the studio’s first animation cameraman.

The new unitproduced very original work, primarily opening creditsand promos, which was something new for television.They used a wide range of animation techniques and invented numerous special effects. Frédéric Back tried his hand at a variety of techniques and appreciated having access to a specialized camera and cameraman, as well as an editor, which made the work much easier. The atmosphere was very dynamic and stimulating. Foreign visitors to Radio-Canada would be given a tour of this unconventional animation studio, and some even tried to lure away its staff. Hubert Tison soon convinced the international animated film association ASIFA to include a section for promotional films in its festivals. In 1968, he showed two of his own works at the international animated film festival in Mamaya, Romania, launching Radio-Canada on the international animated film festival circuit.
(Photo 1: D_1187)
Left to right, Graeme Ross, Frédéric Back, Raymond David and Hubert Tison with the award won at the Barcelona International Animated Film Festival in 1972.
Films produced by Radio-Canada’s animation department

In 1970, Hubert Tison approached the head of youth programming with an idea for a cultural exchange program between Canada and countries in the European Broadcasting Union. Under his scheme, each participating country would produce one children’s animationper year. In exchange for the completed film, participants would receive, free of charge, the works produced by the other countries—in other words, 12 films for the price of one. The idea was approved and the animation department was asked to produce a 10-minute film on very short order. With his colleague Graeme Ross, Frédéric Back made Abracadabra, the first film to be produced as part of this international exchange.

(Document of archives 1: CP_0913) *** tool of agrandissement for lire CP_0913-1 to CP_0913-4
“À la découverte du service d’animation.” Radio-Canada internal publication, 1970

In the context of producing weekly television shows, spending three to four months making a film that was just a few minutes long was a hard notion to sell. Bit by bit, however, backed by their producer, the artists in the animation department managed to obtain longer deadlines, allowing them to take on more sophisticated, more ambitious projects. Their films won awards abroad and Radio-Canada’s “animation studio” gradually made a name for itself on the international animation scene. Over the years, the staff grew until the studio had about 15 full-time employees. In 1980, a second Oxberry animation stand was acquired and, two years later, a Cinetron, the first computerized motion control system. Meanwhile, Frédéric Back’s animated short All Nothinggarnered an Oscar® nomination,the first ever for Canada’s public broadcaster.
(Illustration 3: D_1743)
Cartoon drawn by Frédéric Back as the studio impatiently awaited its second animation stand.
(Illustration 4: D_1744)
Cartoon drawn by Frédéric Back about Radio-Canada’s occasional attempts to redeploy employees from other departments to the animation studio.
(Animation 1: D_1745.gif) --- **** GIF ANIMATED
A series of cartoons given to Hubert Tison by Frédéric Back expressing their astonishment at how long it took Radio-Canada managementto react to All Nothing’s Oscar®nomination.

Impressive calling cards

For 14 years, Radio-Canada’s animation department was a major contributor to the European Broadcasting Union exchange program. It was under this program that Frédéric Back made seven of his animated shorts, taking turns with his colleagues Graeme Ross, Paul Driessen and Mino Bonan in turning out international-award-winning films. “Radio-Canada management appreciated our productions, especially Laurier Hébert in International Relations, who always supported us. Films made by the animation studio very often served as ‘calling cards’;they were given to television networks which would then become interested in other Radio-Canada programs. Thanks to this International Relations initiative, our films screened at festivals and were sold around the world, to the benefit of Radio-Canada.” F.B.

Claiming that computers made it no longer necessary, Radio-Canada decided to close down its animation department in 1989.
(Illustration 5: P_1123)
Cartoon drawn by Frédéric Back in reaction to the announced closure of the animation studio.

R.I.P.

“Radio-Canada’s animation studio produced nearly a thousand works—program intros, animated sequences, plus 20 short films—and acquired an international reputation crowned with over a hundred awards and two Oscars®. Hubert Tison was an exceptional producer: dynamic, visually and technically exacting, ready to intervene at every complex stage of production. Despite its overwhelming success, in 1989 the animation studio was cut and its team of animators were either retired or reassigned. Nevertheless, thanks to the Oscars®, I was permitted to make The Mighty River, which Hubert agreed to produce in spite of his new duties. We hoped that Radio-Canada would rethink its decision and continue to serve as the international model for animation. However, after The Mighty River, we had to let go of this futile hope.”

(Document of archives 2: DA_1746.jpg)
Frédéric Back’s letter to Jean-Baptiste Chardola, director of television operations.
“Putting together the DVD box set of my films in 2002 gave me a chance to work with Hubert Tison for one last time, in order to ensure the highest technical standards for this anthology of 25 years of close collaboration.”F.B.

(Illustration 6: P_1119)
Cartoonby Frédéric Back featuring Boris Volkof, who was in charge of Radio-Canada’s in-house publication.

Films with a message

“Those in charge of youth programming at Radio-Canada, Robert Roy in particular, allowed me to make films that convey strong messages. Young viewers are increasingly exposed to advertising, temptation and exploitation. I felt it was important to inform them and, if possible, help them become critical thinkers through the powerful media of animated film and television. For me—and for Hubert Tison—the quality of the story and the weight of the message are a film’s most important elements. The film is based on an ideal, and the artistic and technical values are there only to enhance it and bring it to full fruition.

“Environmental issues are universal problems that, for far too long, have been suppressed by those making profits under the veneer of ‘progress.’ So it’s not too surprising that my films have managed to touch people around the world—people who struggle to make others aware of the immense work we need to do to save the planet from a suicidal poisoning, from the anarchy of overpopulation or from instant nuclear annihilation. Laws are worth nothing if people aren’t convinced of the need to embrace a more altruistic, more generous attitude—the only way to create happiness in ‘the best of all possible worlds.’ The activistin me feels at once powerless in the face of these problems and reassured by the motivation and actions inspired by our films.

“To me, this illustrates the power of the media, the power of art, and the unlimited, unprecedented responsibility of filmmakers, journalists and animators. There are ethical standards that too many influential people reject under the pretext of artistic creation or freedom of expression. I am convinced that every creator has a responsibility with regard to the planet’s future and the actions of humankind.”

Frédéric Back

The members of Radio-Canada’s animation studio

Directors:
Frédéric Back
Albert Bonan
François Dallaire
Ueli Dietiker
Léonie Gervais
Pierre Girard
Pierre Kohler
Jacques Lamarre
Paule Lévesque
Innie Karine Melbye
Daniel Méry
Pierre-Yves Pelletier
Églantine Pépin
Graeme Ross
André Théroux
Paul Driessen (guest director)
Producer:
Hubert Tison
Editors:
Norbert Pickering
Thérèse Tison (née Bernard)
Cameramen:
Jean-Marie Couture
Claude Lapierre
Jean Robillard
Paul Webster
Assistant:
Luc Desmarais
The films produced by Radio-Canada’s animation studio
Abracadabra: Frédéric Back and Graeme Ross, directors
Inon or The Conquest of Fire: Frédéric Back, director
The Creation of Birds: Frédéric Back, director
Illusion?: Frédéric Back, director
Taratata!: Frédéric Back, director
Elbowing: Paul Driessen, director
All Nothing: Frédéric Back, director
Tip Top: Paul Driessen director
S.V.P. Pollution: Graeme Ross, director
Crac!: Frédéric Back, director
1. 2. 3.: Graeme Ross, director
The Hare and the Turtle: Graeme Ross, director
Beding, Bedang, Bedong: Graeme Ross, director
The Man Who Planted Trees: FrédéricBack, director
Trapeze: Albert Bonan, director
La licorne: Pierre Girard, director
Death of a Maple Tree: Graeme Ross, director
Elephantrio: Paul Driessen, Graeme Ross, John Weldon, directors (in co-operation with the NFB)
The Might River: Frédéric Back, director
TO COME: a sectionon “Frédéric Back’s Unrealized Projects”
Projects: Les caribous
Noé 2000
and several others