Animation Producer Carl Jones Talks About Co-Founding His Own Forward-Looking Animation Studio | New


To serve as a cornerstone for making anime (Japanese-style animation) more palatable to the taste of black culture through its adaptation work Aaron McGruderclassic comic The Boondocks create music visualizers for artists like Megan you stallionthe animation world has never seen a unique blend of high quality animation with hip hop culture like Carl Jones.

That’s not even counting future projects including Netflix’s animated reboot of Good time and the television adaptation of Matthew Cherry Oscar-winning animated short hair love.

Jones’ biggest goal is Martin Bleuetan animation studio he co-founded with his partner Love Barnet. Beyond various ongoing TV and film projects, the company is kicking things off by embracing the future of digital commerce through an NFT release called Bubblegoose Ballerinas.

Talk with BET.comJones discusses Martin Blueberry projects while working with Megan Thee Stallion on music visualizers for her Traumazine album. Martin Blueberry seems like the next logical step for you, Carl Jones. What’s the overall vision of the company outside of being an animation studio in terms of where you want to go with things like NFT and Web3?

Carl Jones: I started Martin Blueberry as an animation studio and since then it has started to evolve and grow rapidly. I think part of the catalyst is my experience with the WEB3 world and the release of our NFT project Bubblegoose Ballerinas.

Since we’ve been able to build this really awesome community around this property, it’s really opened my eyes to what you could do with this technology. Because when I first entered it, I only thought of it as a way to grow this brand and create a community around Bubblegoose Ballerinas.

This then quickly turned into a bigger idea where we could actually build a Web 3 studio which for the most part becomes a bridge between Hollywood and Web3. We help other NFT projects develop their IP into animated series and films while helping Hollywood filmmakers and showrunners develop IP for Web3 and NFTs. There is a lot of controversy over the usability of NFTs despite the fact that the market sees a valuation of $230 billion by 2030. Can you explain the possibilities of NFTs not just as a creator but as a consumer level using Bubblegoose Ballerinas for example?

Carl Jones: First, I’ll just say this. I think NFTs got stigmatized because in the beginning there were obviously a lot of bad actors that were in the space that did some serious shit and took advantage of a lot of people. They pulled a lot of rugs and left a bad taste in people’s mouths. Some projects kind of caught lightning in a bottle and they were able to create a lot of hype around their project and allow the price floor to skyrocket and make ridiculous numbers and then it became the expectation. Now a lot of people are looking for the next Bored Ape or whatever.

I wasn’t looking to use technology to make the next Bored Ape. I just saw it as a way to seed IP and build a brand. It’s more of a tool because I see technology as quite neutral. It’s how people use it that determines whether it’s good or bad. I think it’s really going to change the whole landscape of how we do business and even communicate. You’ve also done visualizers for artists like Megan Thee Stallion, including some for her, most recently released. Truamazine album. She’s a big Anime fan like you. Do you remember working with her?

Carl Jones: I mean it’s great to work with people like Megan Thee Stallion who already has a love for Anime because she’s a super geek. I was excited to be able to work with her on this because when I work with other artists, rappers and artists, they may like the aesthetics of Anime but not necessarily be fans of it. Megan is someone who really loves stories. She had a real vision of how she would like her brand to be translated into animation. It fit perfectly with everything we were doing too. Visualizers are now becoming an important part of music promotion. As an animator, how is it to watch the rise of those and things like lyric videos?

Carl Jones: It’s interesting because before the pandemic I was doing more live stuff, like serving as a showrunner for by Tracy Morgan To display The last OG apart from other projects in development. When the pandemic hit Hollywood shut down. Then I started getting all these phone calls about animation and I was like wow, animation is kind of pandemic proof. I think animation studios have proven that, because you can produce animation from virtually anywhere. It really got me excited about the possibilities of where we can go with animation in the future.

I think the pandemic has pushed the medium of animation forward in many ways, including music videos. There were commercials that I saw popping up and I know they would have been live if they could have shot them. You see more and more people not only exploring animation, but also starting to learn to appreciate it. I think it’s great right now to see so much animation done.

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