Animatieproducenten Nederland
Postbus 59631
1040 LC Amsterdam (The Netherlands)
Tel: +31 (0)6 51195450
E-mail :
Internet :

The spotlight on the Netherlands

The Spotlight at the Cartoon Movie is this year on the Netherlands! The Animation producers Netherlands ApN organises this special event from 5 – 7 March in BORDEAUX:

The ApN is supported for this special event by the NL FilmFund, Fund for the Creative Industry and Socufund Sekamvideo.

More information will follow soon

Seminar Animatie:

Animatie produceren in en met China en hoe zijn de opleidingen?

Datum: maandag 1 oktober 2018
Plaats: Blauwe zaal, Stadsschouwburg, Utrecht


Already for the third time, ApN organized a seminar at the Netherlands Film Festival. The goal of these gatherings is to develop and increase expertise about animation. Following the seminars ‘Storyboarding & Editing’ and ‘Producing Animation’, this year the focus is on China. Which are the possibilities for (co)-producing in and with China, and how is the animation-education organized in this country? Ton Crone, director of ApN, gave a word of welcome to the audience and the three speakers. Leontine Petit presented Bridging the Dragon, a network of Chinese and European film professionals. There is a growing demand for collaboration at this moment, when the Chinese film market is becoming the largest in the world. The recent co-production treaties between China and multiple European countries have expanded the possibilities to work together. In China, which over the last thirty years has been losing its own creativity by carrying out mostly Western outsourcing work, Becky Bristow teaches her students to develop their unique potential by making their own film every year. Manuel Cristóbal gave a behind-the-scenes look in an animated co-production that he is producing right at this moment: the Spanish-Chinese adventure film Dragonkeeper, and shared his experiences working in China. Communication plays a key role and a good translator is indispensable. Moderator Tom van Waveren, CEO and creative director of Cake Entertainment in London, chairman of ApN and vice-chair of Animation in Europe, introduced the speakers and led the panel discussion. There was a small but attentive audience, consisting of film professionals and producers, as well as students aiming to work in this field. During the panel discussion, they asked many questions to the speakers and shared their own experiences.

Download het hele verslag hier.


Netherlands Film Festival 25 September 2017 by Vera de Lange

Speakers: Zahra Dowlatabadi and Eric Goossens
Moderator: Tom van Waveren
Location: Blauwe Zaal, Stadsschouwburg Utrecht
Organised by: Animatieproducenten Nederland, in collaboration with Netherlands Film Festival and Netherlands Film Fund and supported by Vlaamse Animatie Producenten, Filmproducenten Nederland and Netherlands Film Academy.


Following the successful animation seminar ‘Storyboarding & Editing’ last year at the Netherlands’ Film Festival in Utrecht, this year ApN organized a second forum, entitled Producing Animation. The public and the speakers received a word of welcome by Ton Crone, director of ApN. The goal of these gatherings is to develop and increase expertise about animation. This time the seminar focused on producing animation, named after a book with the same title by Zahra Dowlatabadi. She gave a presentation about her experience as an animation producer in the US, followed by Eric Goossens from the production company Walking the Dog, based in Brussels, who focused on the European animation procedures and pipeline setups. Both of them illustrated their presentation with stills and clips from animation projects they have worked on. Moderator Tom van Waveren, CEO and creative director of Cake Entertainment in London, chairman of ApN and vice-chair of Animation Europe, introduced the speakers and led the panel discussion. There was a small but attentive audience, consisting of film directors and producers from both animated and live action films, as well as students aiming to work in this field. During the panel discussion, they asked many questions to the speakers and shared their own experiences.

Animation production is very diverse and ranges from one dedicated artist making drawings in his attic to major studios with hundreds of employees working with advanced software. Until recently, there was hardly any literature about the production process of animated films. The book Producing Animation, which is now a state-of-the-art guidebook for professionals and students alike, provided a good starting point to take a closer look at the organization and management of an animation project.

©2017 NFF/Desiree Schippers

In her presentation, Zahra Dowlatabadi shared her experiences and lessons learned from 2D and 3D animated features, Direct-to-Videos and TV series in both major and independent studios in the US. After being in this business for some time, she noticed that the wheel was constantly re-invented. The workflows in animated films in her experience showed a big contrast with the live action part of the films she has worked on, in which everyone was very clear about their job. Because of this lack of continuity, the animated productions didn’t reach their full potential. Considering that to be a waste of money, effort and time, she decided to gather the best practices with co-writer Kathy Winder, to help guide further productions in the future and to prevent making the same mistakes each time. She presents a snapshot of the current state of animation, the emersion and blend of new technology, where it might be taking us, and the impact of disrupters such as Netflix, Amazon and Google. She is sharing her experience and insight on US production studios, and leads the public through the process of producing animation from pitching until final delivery. When you are pitching an idea, her advice is to be a thorough researcher and analyze the priorities of the company you are pitching to, and make sure your online profile is welcoming and enjoyable. At the start of a production it is important to make agreements in advance about important production aspects like credits, the amount of creative retakes, delivery dates and payments. New technologies and programs such as ToonBoom have streamlined the production process. Current developments caused by companies as Google, Amazon and Netflix have made productions on the one hand more dependent on numbers of views and likes. On the other hand, they also make room for more risky projects and their platforms can make a quick access to a worldwide audience possible.

©2017 NFF/Desiree Schippers

To compare the American situation with the European, Eric Goossens gave an overview of the production pipeline of animation studios on this continent. He took over the presentation from his co-founder Anton Roebben, who was ill. Since most European animated films are co-productions, an important part is the division of tasks between countries, which is connected with the different film funding obligations in each country. This process is so complicated that the whole discussion about the division of tasks may take three to four months. Each country has its own expertises and rules attached to funding. To make this process easier, he hopes that in the future in Europe more enduring connections and collaborations between partners will be developed. During the production process, it is important to follow a good structure and to prepare yourself well. Do not start before the script is greenlighted. You need to make a detailed breakdown of all the props, characters, background etc. in Shotgun, a data asset management system. This is an essential tool to keep the spending of time and money under control. He regards the new developments around companies as Netflix, Amazon and Google as an evolution which can have a positive influence on the financing and distribution of animated films.

Read more: (download PDF)


Nederlands Film Festival 26 September 2016 by Mette Peters

Speakers: Michael Dudok de Wit, Sim Evan-Jones & Ashley Boddy Moderator: Job ter Burg. Location: Blauwe Zaal, Stadsschouwburg Utrecht Organised by: Vereniging Nederlandse Animatie Producenten, in collaboration with Nederlandse Vereniging van Cinema Editors, Nederlands Filmfonds and Nederlands Film Festival.

Full house

It was a full house during the animation seminar on Storyboard & Editing at the Netherlands Film Festival in Utrecht. The audience consisted of a mixture of people from both animation and editing backgrounds. After a word of welcome by Ton Crone, director of the VNAP, experienced editor Job ter Burg acted as moderator during the day. The three invited artists Ashley Boddy, Sim Evan Jones and Michael Dudok de Wit focussed in their individual presentations on their own working practice and showed lots of visual examples. Ter Burg made all lively panel discussion and audiences questions run smoothly.

Read more: (download PDF)


ApN voor betere financiering, deskundigheid, infrastructuur en internationaal netwerk

Het belang van animatie in de media groeit meer en meer. Bij de ontwikkeling van nieuwe mediaproducten wordt steeds meer animatie geïntegreerd.  Of het nu commercials zijn of serious games, previsualisaties of visual effects, familiefilms of documentaires, videoclips of series, YouTube vlogs, bumpers of station calls, voorlichtingsfilms of trainingsprogramma’s, animatie is er niet meer uit weg te denken uit onze hedendaagse visuele belevingswereld.

Langzaam maar zeker wordt het belang van animatie in den brede onderkend en overgenomen. Niet alleen specialisten produceren animatie, maar we zien steeds meer producenten die animatie in hun producties opnemen en zelf animatie gaan produceren. En er is een animatie basisstructuur in Nederland die opereren in al deze contexten mogelijk maakt, de recente Woezel en Pip serie en feature zijn hier een mooi voorbeeld van.

Ter illustratie van zijn doelen en focus onderscheidt de ApN drie sporen, waar het gaat om animatie productie:

  1. De productie van animatie als autonome discipline in zowel korte, middellange als lange animatiefilms en televisieseries, in alle daarbij voorstelbare genres

  2. De productie van animatie segmenten die deel uitmaken van live-action producties en documentaires.

  3. De productie van animatie als geïntegreerde toegepaste discipline in bijvoorbeeld commercials, (serious) games, simulaties, educatieve toepassingen, industrieel design, architectuur, visualisaties, voorlichtingsfilms, motion design en special effects.


De ApN komt op voor de belangen van animatie producenten van het eerste en tweede spoor. De hierbij horende belangen bestaan uit het verbeteren van de mogelijkheden in het produceren en distribueren van animatie in Nederland, en met name op het gebied van betere financiering, kennis, ervaring en het ontwikkelen van een internationaal netwerk, individueel en als industrie.

Waar nuttig en relevant zal de ApN ook met vertegenwoordigers van het derde spoor optrekken en samen werken om gedeelde belangen te verdedigen.

Vanwege de specifieke productie aspecten voor animatie onderscheidt het zich natuurlijk van de andere filmdisciplines, hoewel het juist ook, als producenten verhalende producties veel gemeen heeft. Daarom werkt de ApN op zeer vanzelfsprekende wijze nauw samen met andere producentenverenigingen zoals FPN, DPN en OTP.


Het stimuleren van de productie en distributie van animatie wil de ApN concreet realiseren door:

  1. Financiering: In overleg te gaan met omroepen, fondsen, financiers en distributeurs voor het realiseren van meer producties, nieuwe exploitatiemodellen en financieringsmogelijkheden waaronder; incentive toegankelijk maken voor animatieseries en meer geld van de omroepen toegewezen te krijgen.

  2. Vertegenwoordiging: De belangen van producenten behartigen bij beleidsmakers in Europa en Nederland waaronder beleidsambtenaren bij verschillende ministeries, politieke partijen, provinciale staten en regionale overheden.

  3. Samenwerking: Actief samenwerken met andere belangenorganisaties zoals FPN, DPN, OTP, maar ook APCI, StOP NL, Sekam, Rodap, EYE (het nieuwe filmmuseum), Nederlands Instituut voor Beeld en Geluid, HAFF, KLIK!, Playgrounds festival, en het Nederlands Film Festival.

  4. Kennis en ervaring: Het organiseren van delegaties naar Europese industrie evenementen zoals Cartoon Movie, Cartoon Business, Annecy, Cartoon Forum en animatie workshops organiseren op Nederlandse festivals en daarbuiten.

  5. Internationaal netwerk: Het aantrekken van de contacten met buitenlandse belangenorganisaties voor animatieproducenten, waaronder PACT (Great Britain), SPFA (Frankrijk), Belgische producenten, CARTOON Media, en belangrijke festivals.

Voorzitter, vacant
Secretaris, Daan Velsink
Penningmeester, Jolande Junte
Lid, Janneke van de Kerkhof

Ton Crone, directeur/manager

Voor verdere informatie bij


>> Anikey Studios
contact/email: Paco Vink en Albert 't Hoofd

>> Armadillo Film
contact/email: André Bos

>> Big Pixel
contact/email: Jeroen Hoekstra

>> Blender Animation Studio
Contact/email: Ton Roosendaal

Contact/email: Jolande Junte

>> CinéTé Filmproduktie BV
contact/email: Willem Thijssen

>> The Drawing Room
contact/email: Jiek Weishut

>> Frame Order
contact/email: Daan Velsink

>> il Luster Producties
contact/email: Michiel Snijders

>> Ka-Ching Cartoons
contact/email: Joost van den Bosch

>>KATUNI Animation
contact/email: Chantal Nissen/Richard Claus

>> Pedri Animation BV
contact/email: Thomas Hietbrink

Daniel Koefoed

>> Stichting Filmproject
contact/email: Dorna van Nieuwaal

>> Studio Job, Joris & Marieke
contact/email: Job Roggeveen

>> Studio Pupil
contact/email: Tünde Vollenbroek

>> seriousFilm
contact/email: Marc Thelosen

>> STORM Post Production
Jack Kuiper

>> Submarine
contact/email: Bruno Felix

>> Telescreen BV
contact/email: Lisette Looman

The Storytellers Film & TV BV
contact/email: Errol Nayci

>> Urrebuk
contact/email: Sander Alt

>> Valkproducties
contact/email: Richard Valk

>> Van Merwyck Media
Contact/email: Arthur vann Merwyck

>> WPP Wim Pel Productions BV
Contact/email: Jeroen Pel


>> Knisper Animatie
Contact/email: Coen Balkestein