More Love for Krogzilla

Thanks for all the comments on YouTube and Krogzilla’s Facebook Page. I’m very happy to report that picked the series last week as one of their favorites on the web!

And if you ever need a sea monster fix, please visit the Facebook page. I’ve just posted a ton of FAN ART, some Behind the Scenes pics and early Design Sketches. And as always, Krogzilla has stuff to say on Twitter.

Viva la season two!

10 Responses to “More Love for Krogzilla”

  • Jeremiah Says:

    How’s Frog and Toad coming along?

  • Jeremiah Says:

    I’m working on the Wikipedia page for Hoodwinked! and was wondering if you could answer a few questions about specific aspects of the film’s production.

    1. IMDB lists both Kanbar Entertainment and Kanbar Animation as production companies for the film. What is the difference between these two?

    2. One source I have found states that twenty animators who had previously worked at ImagineAsia were hired to work at Digital Eyecandy. Since the source made no mention of other animators working at Digital Eyecandy, I had assumed that these twenty were the only ones. I just recently discovered another source though, that states sixty animators worked at Digital Eyecandy. It is easy to infer that twenty of Digital Eyecandy’s animators had previously worked at ImagineAsia and fourty did not, but I was just hoping you could confirm that neither source is inaccurate.

    3. I have read that all of the film’s lighting and compositing was done at Prana Studios, but I have also found resumes of animators saying that they did lighting and compositing at Digital Eyecandy. Could you clear this up?

    4. Since well before I began working on the page, Wikipedia has listed Narfia Entertainment Group as a studio that was involved with the film. No further information is provided though, and I have been unable to locate any sources that mention this studio. Was this a real studio that was involved with Hoodwinked in some way or is this simply misinformation that was added to the page?

  • Cory Says:


    Thanks for your work on the Wiki page… I’ll answer to the best of my knowledge!

    1. Don’t know the difference. They probably changed it for business reasons. I have very little dealings with Kanbar.

    2. Animators came and went over the three years we made “Hoodwinked” at Digital Eyecandy. Many of those animators came from other studios. I have no idea which. At times we had 30 artists working for us, other times we had 50. A production expands and contracts according to what phase of the project we are on.

    3. Prana did in fact come in and re-light and re-render our entire film. They fixed a ton of shots and technical problems at the last minute and basically saved the film. I am guessing that artists working in Manila generated 30 or 40 of the 1350 finished color shots that appear in the film.

    4. I’ve never heard of Narfia Entertainment. No one by that name helped make the film. It might be part of a group that distributed or looped the movie in a foreign country.

    Hope this helps.


  • Jeremiah Says:

    Thanks a ton! Sorry I have to be so specific, but just to be clear, were there ever 60 animators at Digital Eyecandy or was 50 the maximum that you ever had?

    My understanding of the animation process is very poor (I don’t even know what compositing and rendering are. Are they the same thing?) so I’m not sure if I fully understand your answer for #3. Are you saying that some lighting, compositing, and rendering was indeed done at Digital Eyecandy, but most of it was redone by Prana?

    • Cory Says:

      Not sure what the exact number of animators was during production. 60 might be right. It was five years ago.

      Compositing is the process of placing all elements in the same shot (characters, backgrounds, effects). Rendering is simply getting the computers to output all the pixels into one image that you see in the movie, which has to be done over many hours for each single frame.

      Yes, most of the finishing of the movie was done by Prana.

  • Jeremiah Says:

    If you have the time, I just have one last question. I have read that it was Kanbar who proposed making a fairy tale parody type film and that it was your brother Todd who came up with the idea of telling the story as a police investigation with a similar structure as Rashomon, but whose idea was it to use Little Red Riding Hood as the primary fairy tale? Did Todd come up with both Little Red Riding Hood and the Rashomon angle simultaneously or had one or both of you already determined that the film would be centered on Little Red Riding Hood?

    • Cory Says:

      I’d credit Todd with the whole concept — Red Riding Hood told as a non-linear crime story.
      Kanbar’s only contribution was that he wanted to re-tell a known story that had built in “pre-awareness” to insure its success. We came up with everything else.

  • Jeremiah Says:

    Great! Thanks again. I really appreciate your willingness to answer all of my questions.

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