Hello
I am Hans-Christian Jehg, I am a dane (Denmark) living with an Italian wife in France. I am the co-owner of a production system company.
Not being an animator my self, I am in absolute awe of those that are able to bring life to their imagination, and I content my self in helping them doing it by organizing the technical back bone (Production databases, reporting, automation) of the productions.
I so far wrote software for:
Hamilton Mattress (2001) - Stop motion
Garden Of Dana (2004) - Stop motion
Terkel In Trouble (2004) - 3D
Cirkeline And The Smallest Superhero Of The World (2004) - 2D cutout
Asterix And The Vikings (2006) - 2D paper with some 3D elements
Brendan & The Secret Of Kells (2007) - 2D paper with some 3D scenes
and I am currently working on Chico & Rita - 2D paper mixed with some 3D props and about 50% 3D Backgrounds.
For all the films up to and including "Asterix" we provided datastructures and online(also called conform) software allowing those productions to have a daily full resolution rolling master of the films during the production period, something otherwise completely out of their budgets.
For "Brendan", and now "Chico" we also provided a system of integrated To-Do-Lists for all production persons, incl. the director, based on a production specific configurable workflow, strict datastructure on the servers, automatic reporting and automation. As something completely new we would also maintain the editing systems (Yes, plural, in 4 sites for Brendan) automatically up to date with newly delivered material.
The special thing about "Brendan" and "Chico" is that they are being produced in many studios (7 and 6) spread over Europe and Brazil, all delivering through HoBSoft to the main studios in respectively Kilkinny and Barcelona.
Why would they do that, produce in more than one studio, when it is more or less accepted that as much as 30% of the budget would go down the drain (misunderstandings, delays, culture differences...) when producing in 3 studios? Well, almost always for financial reasons. In Europe films are usually heavily supported by local development councils and also by the regional development funds of EU. As a return for the subvention the productions will have to put some part of the actual work in specific countries or specific regions.
We want to help the productions getting rid of some of the 30% loss.
As part of our work we are quite often the only ones to physically go to all the studios, to set up equipment, and to make sure all studios are working in the same direction, and I am baffled every time at how the people are able to keep up the steam for 2 years while working on the drawings, and may I add, it is such a pleasure to announce to the production, that the first scenes has been delivered from coloring or composite, that really marks a turning point for everybody working on the production
Thank you very much
Hans-Christian Jehg
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