Poko Creates A New Industry
Nova Scotia has become a centre of excellence in stop-motion animation thanks to a blue-haired little boy named Poko and a television series that will air on CBC next month.
When Salter Street Films began development of the program for preschoolers three years ago, its creators ran into a stumbling block. They wanted Poko, his dog, Minus, and his stuffed monkey, Mr. Murphy, to be the product of stop motion animation.
Stop motion uses three-dimensional puppets and a form of animation that breaks action into short, subtle movements that are digitally photographed, frame by frame. The process is arduous, taking between 15 and 20 movements of the puppet to create just one second of animation, 30 movements if the motion requires fast action. However, the result is a fluid range of motion that when played makes the puppet appear to magically come to life.
To make matters even more complicated, Canadians had little expertise in the craft.
Salter Street explored other options. Then, in a twist of fate, the solution to their quandary was delivered by a visitor to Nova Scotia. A guest speaker at the Atlantic Film Festival suggested that Poko producers contact Tom Gasek, a British stop motion animator associated with such big-budget films as Chicken Run.
With the assistance and guidance of Mr. Gasek, Salter Street set its sights on creating a fully self-sufficient stop motion animation studio here in Nova Scotia.
Thanks to the support of the CBC -- which was committed to adding Poko to its Get Set for Life lineup -- and the backing of the Nova Scotia Film Development Corporation, that goal has already been reached.
The Poko series doesn't air until Dec. 1, but the CBC is so convinced it will be a hit that it has ordered a full second season. That will provide steady employment to a crew of 48 artists, animators, designers, musicians and others who do everything from building the puppets to completing the painstakingly slow stop motion process.
"The ability of local members of the production community to learn a brand new skill and take it to the degree of success that we have achieved in Poko speaks to the level of talent and passion in Nova Scotia's film and television industry," says Jeff Rosen, creator, co-executive producer and writer of the program.
The program has already meant concrete change for people like Dylan Edward. A theatre graduate from Dalhousie University, Dylan had been working as a graphic designer and children's entertainer when a friend told him about work being done on the Poko show. He presented himself to producers.
"We were amazed at Dylan's ability in his testing to convey emotion with inanimate objects," says line producer Katrina Walsh. "We took a chance on him and he exceeded any expectations we had. His work is brilliant."
That, says Nova Scotia Film Development Corporation CEO Ann MacKenzie, is the kind of success story that makes a project like Poko so worthwhile.
"We're pleased to be able to enable projects like this that provide opportunities for Nova Scotia youth to use skills they acquired through various forms of training. In many instances this training is being obtained at Nova Scotia's community colleges and universities," she says.
As labour-intensive as the process is, its creators say Poko is also a labour of love.
"It truly is magical," says creative producer and writer Cheryl Wagner, who adds the program's strong curriculum and humour will keep preschoolers, and their parents, coming back for more.
The episodes will focus on the emotional life of young children, mirroring their real life frustrations in trying to conquer such challenges as opening the door.
"Our hope is that the audience will feel that their world is acknowledged, recognized and respected, and we would be delighted if the children adopted some of the coping skills presented," says Ms. Wagner.
Coping with a challenge is something the people at Poko know well.