Hook Up Animation Celebrates a Decade: A Look Back at 10 Years of Creativity
Hook Up Animation has reached a significant milestone – 10 years! From informal beginnings around the year 2000 and officially kicking off activities in 2001, the studio has embarked on numerous projects and shared countless stories with friends and cherished collaborators. Some remain integral parts of the team, while others have forged new paths, carrying the studio’s original spirit with them.
To commemorate this decade, we’ve called upon some of our iconic characters to help reminisce about key moments from these past 10 years. We extend our heartfelt thanks to everyone for the time shared and the positive energy contributed. Join us in celebrating this journey!
Hook Up Animation 10th Anniversary Pin-Up Artwork by Ame Vidal
2001: The Beginning – Zapiola Street and Disney Dreams
The studio first opened its doors in a loft on Zapiola street in the Nuñez neighborhood. The residential complex featured a community pool, which many early members of the nascent Hook Up Animation team frequently enjoyed (much to the neighbors’ chagrin) while crafting the initial animations for what would become a foundational project.
This first major undertaking was titled “A Soñar con Disney” (Let’s Dream with Disney). It comprised a series of five spots where various Disney characters encouraged children that it was bedtime. Ironically, this project itself “went to sleep” and was never released. However, it inadvertently became the key that unlocked numerous doors for Hook Up within the animation industry.
“A SOÑAR CON DISNEY” – MICKEY – LAYOUTS
See the layouts here: http://hookupanimation.blogspot.com/p/los-layouts-del-buenas-noches-de-mickey.html
Animated GIF from A Soñar con Disney – Mickey Scene 02
Animated GIF from A Soñar con Disney – Mickey Scene 03
Animated GIF from A Soñar con Disney – Mickey Scene 05
“A SOÑAR CON DISNEY” – MICKEY – PENCIL TEST
Hook Up Animation / A soñar con Disney / Mickey Mouse / Walt Disney T.V. Animation from Hook Up Animation on Vimeo.
Early Days Snapshots:
Photo of the early Hook Up Animation team members known as THE 6
Photo of Hook Up Animation team member Joche
Photo capturing the energy 'LA ENERGÍA' at the early Hook Up Animation studio
Photo of the community pool 'LA PILETA' used by the early Hook Up Animation team
Rough animation sketch of Triton from the 'A Soñar con Disney' project
2002: Videomatch, Cartoon Network, and Language Barriers
Early in 2002, Hook Up approached the team at Ideas del Sur with a proposal: create a new opening sequence for the popular show Videomatch (as it was then known). The concept was to replicate the Gorillaz’ music video for “19-2000,” substituting the original characters with host Marcelo Tinelli and his ensemble cast.
The idea was well-received, and production began. However, uncertainties arose mid-process regarding the show’s airing schedule and the participation of certain cast members. “Freddy’s in, Freddy’s out – he didn’t sign, take him out.” “But we already animated him!” “Okay, we’ll remove him.” Then, “Freddy’s back in, put him back!” “But we only have two days!” It’s worth remembering these were times of significant economic and institutional instability in Argentina, though its connection to Freddy’s participation remained unclear.
Hook Up Animation / Apertura Video Match 2002 / Ideas del Sur from Hook Up Animation on Vimeo.
APERTURA VIDEOMATCH 2002 – DESIGNS
Character design of Marcelo Tinelli for the Videomatch 2002 opening animation
Character designs for Videomatch cast: La Feudale, Yayo, Listorti, Freddy, Larry de Clay & Pachu
Character designs for Videomatch cast: Larry de Clay, El Enviado, La Feudale & El Raportero
More 2002 Snapshots:
Photo of Hook Up Animation team member known as THE 23
Photo of Hook Up Animation team member 'EL BRUJO'
Photo of Hook Up Animation team member Fede Radero
Photo of Hook Up Animation team member Ismael Mon
Photo of Hook Up Animation team member Gonzalo Azpiri
Around this time, the team came across an article in Noticias magazine about Fernando Semenzato, who worked for Cartoon Network Latin America. They thought, “An animation channel probably needs an animation studio, right?” After searching extensively without success, a stroke of luck (or kismet, though they don’t necessarily believe in it) occurred. While scrolling through a spam email with thousands of recipients, Mr. Semenzato’s address appeared.
They sent an email, introduced themselves, and received a call back. A meeting followed, a job was offered and accepted. Semenzato returned to Atlanta, where colleagues initially scoffed at the low price quoted. “For that price? That cheap? Wait for it!!!” Despite the skepticism, Hook Up delivered. That first job was “Tom y Jerry Lado B” (Tom and Jerry Side B), the precursor to hundreds more collaborations with Cartoon Network.
TOM AND JERRY SIDE B
Hook Up Animation / B side – Tom & Jerry / Cartoon Network from Hook Up Animation on Vimeo.
That year also saw two other projects for Cartoon Network LA: a promo for the series “I Am Weasel” and the production of “The Rubbles.”
Hook Up: Spanish Without Borders
A Testimonial by Manoela Muraro, Creative Manager, Cartoon Network LA
The first time I worked with Hook Up was in 2002 for a little show called “The Rubbles,” a parody of the MTV reality show “The Osbournes,” featuring the family of Fred Flintstone’s best friend.
Hook Up animated it. We managed everything via email. Back then, we didn’t use FTP for material transfer; it was all tapes sent by postal mail! Crazy! My contact at Hook Up was José María. From the very beginning, we got along extremely well and had fun throughout every stage of the project. But there was a small detail: my Spanish wasn’t very good, and I had never written anything in Spanish before. Yet, there I was, needing to write all my feedback emails—on storyboards, animatics, color tests, everything—in Spanish. Initially, I had someone review my emails, but eventually, I started sending what I thought was acceptable, even with a few mistakes. They knew I’m Brazilian, so I didn’t worry too much.
However, one day I mistakenly wrote “muestro” (showing) instead of “monstruo” (monster), not just once, but multiple times. And they never corrected me. Then the jokes started in the emails. When I finally traveled to Buenos Aires to meet them in person, they teased me relentlessly about my “muestros” and everything else!
But it was with them that I truly learned to write in Spanish!
Congratulations, Hook Up, on these 10 years of beautiful animation work, your little “muestritos”!
How I love you!
Manu
The Rubbles – Episodio 1 from Hook Up Animation on Vimeo.
THE RUBBLES – LAYOUTS:
Layout from The Rubbles animation – Scene 03
“I AM WEASEL”- PROMO – CARTOON NETWORK LA
Hook Up Animation / X-Ray – I’m Weasel / Cartoon Network from Hook Up Animation on Vimeo.
2003: Scaling Up with Winnie The Pooh and Lilo & Stitch
The “A Soñar con Disney” project had been overseen by Disney’s Special Projects department in Burbank, California, managed by Ed Wekler, Gary Katona, and Antran Manoogian. Building on this initial collaboration, the Burbank team offered Hook Up the opportunity to produce two 30-minute direct-to-DVD films: Winnie The Pooh ABC’S and Winnie The Pooh 123’S.
This significant undertaking necessitated a move. The studio relocated from the lofts on Zapiola street to a new facility on Artilleros Street in the Belgrano neighborhood. The team size expanded dramatically, growing from around 15 people to a crew of 80.
Hook Up Animation / The ABC’s & 123’s with Pooh / Walt Disney Special Projects from Hook Up Animation on Vimeo.
Life at Artilleros Street:
Photo of the Hook Up Animation studio exterior on Artilleros Street
Rough animation sketch of Rito from a Disney project at Hook Up Animation
Photo titled 'Stairway to Heaven' depicting the directors' staircase at Hook Up's Artilleros studio
Photo of the kitchen and ping pong table area at Hook Up's Artilleros studio
Photo of Hook Up Animation team member 'Pollito'
Photo labeled 'LA PECERA – POS' likely showing the post-production area at Hook Up Animation
Photo showing stacks of paper for pencil tests at Hook Up Animation
Photo of the post-production area 'LA PECERA' at Hook Up Animation
Photo of Vero at the front desk of Hook Up Animation's Artilleros studio
Photo of Hook Up Animation team members Kechu, Diego Puente & Gonzalo in the backyard
Rough animation sketch of Winnie the Pooh from a Disney project at Hook Up Animation
Photo of Hook Up Animation team members Gonzalo, Tiega, Omar & Joche
Photo montage showing Hook Up Animation members Diego, Gonzalo, Omar & Joche at the Artilleros studio (2003-2005)
Enthusiastic and pleased with Hook Up’s work, Disney entrusted the studio with creating the opening titles for the Lilo & Stitch television series. Chuki Badala!
LILO & STITCH – MAIN TITLES – TV SERIES
Hook Up Animation / Lilo & Stich the series – Main titles from Hook Up Animation on Vimeo.
That same year, Cartoon Network celebrated its 10th anniversary and chose Hook Up to be part of the festivities. The studio readily accepted. The project involved a series of commemorative spots under the slogan: “Cartoon Network 10 años, del Yunque a la Substancia X” (Cartoon Network 10 years, from the Anvil to Substance X), where classic characters shared the screen with the network’s newer animation stars (who are now classics themselves).
CARTOON NETWORK 10 YEARS, FROM THE ANVIL TO SUBSTANCE X
Hook Up Animation / 10th Anniversary Cartoon Network / Cartoon Network from Hook Up Animation on Vimeo.
Another significant project from 2003 was the music video for the band Bacilos’ song “Caraluna,” commissioned by Cartoon Network. This was one of the first instances where Hook Up had complete creative freedom to develop and propose their own vision, with the song being the only guideline. The result was an award at the New York Festivals and a unique, original piece that remains a favorite at the studio.
CARALUNA – PREPRODUCTION
Pre-production sketch 1 for the Bacilos 'Caraluna' music video
Pre-production sketch 2 for the Bacilos 'Caraluna' music video
Pre-production sketch 3 for the Bacilos 'Caraluna' music video
Pre-production sketch 4 for the Bacilos 'Caraluna' music video
Pre-production sketch of a theatre scene for the Bacilos 'Caraluna' music video
CARALUNA
Hook Up Animation / Caraluna / Cartoon Network from Hook Up Animation on Vimeo.
2004: Crossing Borders and Expanding Horizons
Hook Up’s reputation had traversed the Atlantic, reaching the United Kingdom. Despite Diego Maradona’s infamous goals, Turner UK commissioned the studio to create animation for a brand refresh of the Boomerang channel.
Meanwhile, Carlo Olivares, one of Cartoon Network’s beloved producers, had a novel idea: create a series of animated cartoons within an animated cartoon channel. Who would have thought? The idea materialized, resulting in the first episode of a show called “Bobots.”
BOBOTS – PREPRODUCTION
Hook Up Animation / Bobots – Diseños / Cartoon Network from Hook Up Animation on Vimeo.
BOBOTS – MAIN TITLES
Hook Up Animation / Bobots / Cartoon Network from Hook Up Animation on Vimeo.
That year, Disney released a Platinum Edition of Aladdin and asked Hook Up to “rub the lamp” and create animations for a video game included in the special edition release.
ALADDIN’S DVD SPECIAL EDITION
Hook Up Animation / Aladdin – DVD Game / Walt Disney from Hook Up Animation on Vimeo.
Hook Up in Memory
A Testimonial by Ramiro Cabrera – Kevin
I’ve been thinking about anecdotes from those years, and many of them might embarrass people or the studio itself!
Beyond the classic mid-day paper wars, I remember one between the backgrounds and post-production departments where a paper basket actually went airborne (fortunately, no one was injured). There was a coworker who found joy (or catharsis) in destroying defunct gadgets, another who ‘swam’ by on a wheeled chair, a pair of twins where one seemed to mutate daily, sometimes looking like entirely different species, and an endless stream of characters who were, generally, all very good people.
All very fond memories.
One Friday near the end of the day, a very irate Omar (the moodiest of the bosses) was pressing for the submission of some shots. I was assisting and doing in-betweens, and Leandro Corral was cleaning up a long shot of Wile E. Coyote. I won’t name the animator, but by that point, the Coyote had morphed into something resembling the dog Juan Carlos. After several urgent requests from Omar, I just said, “This is absurd!” and started laughing, which made Leandro and even Omar himself laugh too. Yes, he knew how to laugh.
I also remember my first assisting shot was for Aladdin. It took a lot of work, and Kechu relayed Joche’s congratulations to me for how well the model had been maintained. When the shot reached the pencil test stage, already set, Gonzalo Azpiri saw it – “… and… he doesn’t speak?!… Talk to me, son of a bitch, talk to me!!” – Gonzalo reprimanded, looking at the monitor. I had forgotten to check the vocalization column on the exposure sheet.
http://ramirocabrerailustraciones.blogspot.com
More 2004 Snapshots:
Photo of the Post-production team or area at Hook Up Animation
Photo of Hook Up Animation team member Sawa
Photo of Hook Up Animation team member Vero, described as 'a girl'
Photo of Mili at Hook Up Animation
Photo depicting a 'ROMANCE' between Leandro & La Mami at Hook Up Animation
2005: Feature Film Success and MTV Cool
This year marked a major milestone! A project that had been discussed for two years prior was finally confirmed: Hook Up began work on its first, and to date only, complete feature film (from initial storyboard sketch to the final frame), Una Película de Huevos, en busca de mamá gallina (An Eggs Film, in search of Mama Hen).
The team poured immense effort into it. Despite the director being exceptionally friendly (though a bit forgetful), it wasn’t an easy project. The film ultimately became a massive success, ranking as the 3rd highest-grossing “Mexican” film in box-office history at the time.
UNA PELÍCULA DE HUEVOS, EN BUSCA DE MAMÁ GALLINA
Hook Up Animation / Una Película de Huevos / Huevocartoon – México from Hook Up Animation on Vimeo.
Apparently, MTV was seeking a dose of freshness, vitality, and a cool studio, so they decided to call Hook Up. This collaboration led to the creation of several bumpers for the channel.
MTV BUMPERS
Hook Up Animation / Bumpers / MTV from Hook Up Animation on Vimeo.
Artilleros
A Testimonial by Pablo Lorenzo, Animator
When you’re lucky enough to have worked for a long time in what you love most—in my case, animation—and having spent over 15 years in more than 10 different places (it’s quite a nomadic profession, we must admit), memory becomes selective. You remember most strongly and fondly those places that, perhaps without realizing it at the time, marked you the most. I can assure you that today, the times I yearn for most are those spent at Hook Up in Nuñez… and not for just one reason, but for a thousand different ones: the quality and quantity of people I met, the inevitable professional growth fueled by the varied complexity and demands of the jobs, the incredible characters that paraded across the animation boards over the years, the chance to draw beloved childhood cartoons I never thought I’d animate—and the pride that brings—thousands of anecdotes of all kinds (funny, complicated, comforting moments, worries and reliefs, back-and-forths, days and nights spent within those walls…).
But well, paths sometimes diverge, and at some point, I took another route. Years pass, Hook Up moves, I change companies again… and again… and again… and destiny arranges it so that years later, my new job is right next door to that mythical Hook Up, the one of a thousand anecdotes, the most beloved of my memories. To get there, I take the same bus, walk the same blocks, see the same houses and sidewalks from those times… some things have changed, but not many… except when I arrive, I walk a few extra meters to enter the door next to the one that housed the Hook Up that is no longer Hook Up… memories flood back like a waterfall: the Jokey Club for lunch snacks is still there… and the Showcase cinema… and the candy store run by the nice lady!!!! She even recognizes me when she sees me!!! And Doña Rosita!! And the toy store around the corner, the horns outside the door and the traffic when River Plate plays, the park with the basketball hoops… and this, and that… so many memories… and the twists of destiny, what a surreal feeling, like daydreaming. And going up to the new terrace, through small windows, I get a chance to see the new face of that place where so many spent countless hours drawing, painting, scanning, composing, rendering, eating, chatting, laughing, discussing, playing, learning, suffering, and enjoying… I lean over, though I know nothing remains of the tables, PCs, boards; Hook Up moved years ago and continues elsewhere, in another neighborhood, but what was lived in that building remains potent. You can see it’s changed, dirty, different, but the memory flies to a cherished place, the mind fills in the gaps, and with some nostalgia, many of us would love to return there, to the adventures and misfortunes of ‘Artilleros 2361’.
Congratulations Hook Up!! We’ll cross paths again, I have no doubt…
Regards to all, Joche, and a big hug!!
PL.
Photo of the former Hook Up Animation studio on Artilleros street in 2011, taken by Pablo Lorenzo
2006: Spies, Heroes, and a New Home
Fernando Semenzato, now settled at Fox, reached out to Hook Up again. This time, the project was to create shorts featuring a pair of spies for the Universal Channel. Unconsciously, this provided Hook Up the freedom not only to handle design and animation but also to write the scripts. Incredibly, they turned out well! Introducing Spy Games.
SPY GAMES
Hook Up Animation / Spy Games / Universal from Hook Up Animation on Vimeo.
Fernando continued to test his luck (and Hook Up’s capabilities) by entrusting them with the designs and animation for a new series, “The League of Unnecessary Heroes.” Unnecessary, perhaps, but certainly memorable.
THE LEAGUE OF UNNECESSARY HEROES – LAYOUTS
Layout from 'The League of Unnecessary Heroes' episode 'Holly Caliente' – Scene 24
OPENING OF THE LEAGUE OF UNNECESSARY HEROES
Untitled from Hook Up Animation on Vimeo.
Another notable project from 2006 involved creating shorts for Open Season, directed by Jim Cox (of Ring Tales), for the DVD release of the film known locally as Amigos Salvajes.
Hook Up Animation / Open Season / Ring Tales from Hook Up Animation on Vimeo.
And then came another move. On a rainy September day, Hook Up relocated to Galván 3465, a former lingerie factory – just what they needed! This move happened amidst ongoing remodeling, with construction workers, painters, and animators sharing the space… a truly charming chaos.
Moving Day:
Photo captioned 'GOOD BYE ARTILLEROS…' showing the team leaving the old studio
Photo captioned 'NEW NEIGHBOR' featuring Ratman, possibly related to the new location
Photo captioned 'WELCOME GALVÁN' marking the arrival at the new studio location
New Studio Life & Achievements:
Photo of Diego Puente 'at command' in the new Hook Up Animation studio
Photo captioned '1º ANIMATION DEGREE COURSE', possibly indicating training at Hook Up
Photo of Gonzalo Azpiri at a Promax event representing Hook Up Animation
Photo of Ana, Paxton & Carlo from Cartoon Network with Diego & Joche from Hook Up at Promax Awards
Hook Up Animation 5th Anniversary image
2007: NatGeo Adventures and Lucky Luke Demands
“El Show de Cuello for Natgeo y Yo” (The Neck Show for Natgeo and Me) was another project with a special flavor for Hook Up. The studio handled the designs, art direction, and overall direction, once again produced by Fernando Semenzato. The show was a hit with kids.
DESIGN
ART
THE NECK SHOW
Hook Up Animation / El Show de Cuello / NatGeo from Hook Up Animation on Vimeo.
Another classic comic character brought to the big screen with Hook Up’s collaboration was Lucky Luke. The French studio Xilam’s Lucky Luke Go West was arguably the most demanding project the studio had worked on up to that point. Jean Se and his team pushed Hook Up hard, but the impeccable final result was undeniable.
LUCKY LUKE GO WEST
Hook Up Animation / Lucky Luke / Xilam – Francia from Hook Up Animation on Vimeo.
Following the success of the Open Season shorts, director Jim Cox, pleased with Hook Up’s work, called upon them again. This time, it was for a series of shorts based on famous cartoons from the prestigious American publication, The New Yorker. Laughter ensued.
RING TALES CARTOONS
Hook Up Animation / Ring Tales / Ring Tales Cartoons – E.E.U.U. from Hook Up Animation on Vimeo.
2007 Snapshots:
Photo of Hook Up Animation team members: Juan Cancellieri, Amelia, Juli, El Gallo, Daniel Duche
2008: Global Reach and Unseen Projects
Under the direction of Ed Wexler, an old friend of the studio, Hook Up animated the series “Global Wonders.” This multicultural show aimed to educate and entertain children aged 2 to 7.
GLOBAL WONDERS
“Mosca y Smith” represented one of those peculiar projects that, despite significant time and effort invested, never made it to air. Led by the legendary Carlos Bachetti and his team, Hook Up created the animated version of this distinctive TV series.
MOSCA Y SMITH EN EL ONCE – Animatic apertura
Hook Up Animation / Mosca & Smith en el Once – Animatic apertura / El Cielo – Argentina from Hook Up Animation on Vimeo.
Finally, 2008 marked the completion of the ultimate Hook Up remodeling at the Galván studio! Thanks were due to Architects (well, almost) María and Yesi. With the work and suffering done, it was time for partying and laughter…
Galván Studio Completed:
Photo captioned 'WELCOME!' likely celebrating the finished studio remodeling with Omar
Photo of the Hook Up Animation studio exterior at Galván 3465
Photo of 'THE LITTLE TREE' inside the remodeled Hook Up Animation studio
Photo showing the windows of the remodeled Hook Up Animation studio
Photo of Ame & Franco working in the pre-production area at Hook Up Animation
Photo of the pre-production area at Hook Up Animation
2009: Navigating the Crisis
The slaughter began! The international financial crisis hit hard, leading to the cancellation of many projects. Client budgets shrank significantly, and a large portion of the workload vanished… It was time to paddle hard. Despite the challenges, some projects endured, like the persistent Spy Games.
SPY GAMES 2º SEASON
Hook Up Animation / Spy Games / Fox from Hook Up Animation on Vimeo.
Another project highlighted from that challenging year was the design work for the production company Kidsplant on a concept called “Grim & Jerm,” where cells and bacteria were the main characters.
Character size comparison chart for the 'Grim & Jerm' project design by Hook Up Animation
Fortunately, Hook Up’s long-standing friends at Cartoon Network remained steadfast partners, continuing their collaborations despite the economic tempest.
2010: The Bondiband Journey Begins
After months of relative drought, a new and ambitious project was confirmed: Bondiband. The task was substantial – produce 52 episodes, each 11 minutes long. Everyone aboard the Bus!!!! And the studio got moving again!
2011: Celebrating a Decade, Looking Ahead
The anniversary year found Hook Up Animation fully engaged, right in the middle of the Bondiband journey (“on the Bus,” so to speak). Meanwhile, many long-term clients like Cartoon Network (for whom the studio has completed over 700 projects), Fox, Disney, and MTV, among others, continued to place their trust in Hook Up.
The studio remains happy and driven by these collaborations. It is their sincere wish to continue creating, designing, and bringing countless characters and imaginary worlds to life for many, many more years to come.
KECHU http://kechu82.blogspot.com/
Reflections on Hook Up’s Impact: An Animator’s Perspective
A Testimonial by Ignacio Carlos Ochoa, Animator
Hook Up – 10 years, and part of history
Although Argentina produced the world’s first animated feature film in 1917, our country never established a consistent flow of productions or continuity that allowed commercial hand-drawn animation to develop to international standards.
However, it’s crucial to highlight significant attempts and ventures over the years. Studios or teams materialized specific projects, contributing considerably to artist development and the art of animation itself, in a country where aspiring animators often learn on the job.
Allow me to chronologically pinpoint moments I consider most important:
– The feature film “Upa en apuros” (1943), produced by Dante Quinterno, was perhaps the first approach to American commercial production standards. The final product was remarkable for its time. Quinterno visited major US animation studios and even hired foreign artists to train local cartoonists. Unfortunately, it was the sole fruit of that ambitious venture.
– Gracía Ferré’s productions (1970s-80s) enabled several feature films and provided continuity (and training) for another generation of cartoonists.
– Jaime Díaz’s studio (early 80s – mid 90s) introduced American methods for TV animation production, worked on foreign productions, and served as a school for many young artists.
– The late 90s saw multiple local feature film productions, increasing job opportunities and bringing new talent into the animation scene. However, short production times and low budgets often compromised quality.
– Entering the new millennium, Argentina’s economic situation reduced local production but favored producing for international clients again. It was within this context that “Hook Up” was born. As we celebrate its 10th anniversary, let’s analyze why Hook Up deserves recognition in Argentina’s animation history.
This analysis stems from my own experiences as an animator at the studio from early 2003 to May 2005, a period when Hook Up primarily served “Cartoon Network,” “Boomerang,” and “Disney Home Video.”
Just as large companies sought services from a young company led by artists taking their first entrepreneurial steps, these entrepreneurs chose to recruit young artists with less experience but immense hunger and capacity to tackle challenges. This combination allowed the studio to produce high-caliber work, meeting client requirements precisely and elevating the quality standard of commercial animation in Argentina.
Several factors favored this advancement, which, while seeming essential for any production, were uncommon in Argentine studios at the time:
– Production Times: Mostly adequate for the product’s requirements. Animators had more time than usual, allowing us (even when paid per animated second) to approach work more calmly, refine drawings, and even review assistants’ and in-between artists’ work.
– Daily Pencil Tests: Implemented at the animators’ request. We could test animation sketches anytime and as often as needed.
– Model Checking: The studio’s most skilled cartoonists (often in layout) reviewed and adjusted character models.
– Training: Drawing training was provided for the team, and new employees received formal onboarding.
– Clean-Up Exigency: Notably increased standards with tight supervision of final drawings.
– Equipment: Animation desks had discs!
– Backgrounds: Artists meticulously replicated the aesthetics of the TV shows.
– Digital Composition: Executed with excellent visual judgment and criteria.
– Motivation: Working with classic characters was always a bonus. (Though sometimes we worked without official “model sheets,” relying on photocopies or low-quality video captures for reference).
Some artists at Hook Up during those years were fully aware that these quality-enhancing factors needed to be seized. We faced the possibility of working under conditions vastly different from what we were used to, and many of us capitalized on that opportunity. (And when artists elevate their level, the studio elevates its level, because the studio’s quality is guaranteed by its team).
Ten years ago, we were ten years younger. Although some of us had longer careers, the years at Hook Up were the real starting point for many. Today, Hook Up stands out as one of the studios that left its mark on Argentine animation history – not just for raising quality standards, but also for being a place of learning and growth for numerous artists who are now key figures in major studios and productions in our country, potentially becoming the next leaders to shape history.
Thanks, Hook Up!
Happy Birthday!!!
http://ignaciocarlosochoa.blogspot.com/
Hook Up 10th Anniversary Gallery
Tributes from fellow artists:
10th Anniversary tribute artwork for Hook Up Animation by Sawa
10th Anniversary tribute artwork for Hook Up Animation by Franco Spagnolo
10th Anniversary tribute artwork for Hook Up Animation by Roberto Cruz
10th Anniversary tribute artwork for Hook Up Animation by Juan Cancellieri
Hook Up’s Family Album: A Decade in Pictures
A collection of memories featuring the faces that shaped Hook Up Animation’s first 10 years.
Photo of Hook Up Animation team member Angelita
Photo of the Clean-up department or team at Hook Up Animation
Photo of Hook Up Animation team member Daniel Duche
Photo of Hook Up Animation team member De Rose
Photo of Hook Up Animation team member 'El Abuelo de Gilligan'
Photo of Hook Up Animation team member 'El Brujo'
Photo of Hook Up Animation team member 'El Hombre Montaña'
Photo of Hook Up Animation team member 'El Pibe Bazooka'
Photo of Hook Up Animation team member Fede Radero
Photo of Hook Up Animation team member Firuli
Photo of Hook Up Animation team member Gorgats
Photo of Hook Up Animation team member Guada
Photo of Hook Up Animation team member Gulk
Photo of Hook Up Animation team member Hernancin
Photo captioned 'I TELL YOU' featuring Hook Up Animation team members
Photo of Hook Up Animation team member Ismael Mon
Photo of Hook Up Animation team member Joche
Photo of Hook Up Animation team member Juan
Photo of Hook Up Animation team member Juli
Photo of Hook Up Animation team member Kechu
Photo of Hook Up Animation team member 'La Mami'
Photo of Hook Up Animation team member 'La Stone'
Photo of Hook Up Animation team member Laurita
Photo of Hook Up Animation team member Libi
Photo of Hook Up Animation team member Lorenzo
Photo of Hook Up Animation team member Luciana
Photo of Hook Up Animation team member Marianita
Photo of Hook Up Animation team member Martín Lara
Photo of Hook Up Animation team member Mengue
Photo of Hook Up Animation team member Ochoa
Photo of Hook Up Animation leaders Omar & Gonzalo
Photo of Hook Up Animation's Omar & Vero
Photo of Hook Up Animation team member Pabel
Photo of Hook Up Animation team member Pablo Rago
Photo of Hook Up Animation team member Stalone
Photo of Hook Up Animation team member Tiega
Photo of Hook Up Animation team member Diego Puente
Photo of Hook Up Animation team member Irina
Photo of Hook Up Animation team member Ame
Photo of Hook Up Animation team members Las Artachas Marta y Ana
Photo of Hook Up Animation team members Cambiaggio y Esteban
Photo of Hook Up Animation team member Checki
Photo of Hook Up Animation team members Diana, Euge y Anto
Photo of Hook Up Animation's Diego Puente y Juancito Cancellieri
Photo of Hook Up Animation team member Griso
Photo of Hook Up Animation team member Kevin
Photo of Hook Up Animation team member 'La Nena'
Photo of Hook Up Animation team member Luchía
Photo of Hook Up Animation team member Maraña
Photo of Hook Up Animation's Marcelo y El Vikingo
Photo of Hook Up Animation's Kechu y Marian
Photo of Hook Up Animation's Maru y Marcelo
Photo of Hook Up Animation team member Nano
Photo of Hook Up Animation team member Pato
Photo of Hook Up Animation team member Perla Duche
Photo of Hook Up Animation team member Pochi
Photo of Hook Up Animation's Sawa y Franco
Photo of Hook Up Animation team member Viñas
Photo captioned 'WESTERN' possibly from a themed event or project at Hook Up Animation
Photo of Hook Up Animation's Carlita y Vero
Conclusion: A Decade of Animation and Beyond
Hook Up Animation’s first ten years represent a remarkable journey through the dynamic world of animation. From humble beginnings in a Nuñez loft to becoming a key player collaborating with global giants like Disney, Cartoon Network, Fox, and MTV, the studio has consistently demonstrated creativity, resilience, and a commitment to quality. They’ve navigated industry shifts, economic challenges, and demanding projects, all while fostering talent and contributing significantly to the Argentinian animation landscape, as eloquently described by animator Ignacio Carlos Ochoa.
The projects highlighted – from the unreleased but pivotal “A Soñar con Disney” to feature film success with Una Película de Huevos, iconic series titles like Lilo & Stitch, and countless memorable shorts and commercials – showcase a diverse and impressive portfolio. More importantly, the stories shared and the photos captured reveal a studio built on collaboration, camaraderie, and a shared passion for bringing characters and worlds to life. As Hook Up Animation embarked on its second decade in 2011, deep in production on “Bondiband,” the spirit of creativity and the strong relationships forged over the years promised an exciting future ahead. Here’s to many more years of Hook Up Animation!
