
UC Students Step Into The World Of Stop-Motion Animation
'Stop-motion is such a difficult industry to get into,' says Holling. 'The Kiri and Lou internship is an incredible opportunity. I'm only halfway through my second year, and already I'm getting to work in a high-quality studio."
By working alongside professional animators and contributing to a major local production, Hales and Holling are applying their studies in a real-world context. Their internships are part of UC's Digital Screen Work-Integrated Learning (WIL) programme which connects students with professional experiences relevant to their degrees.
'The chance to work in a production environment is very different from being in class. You're surrounded by people who are really focused on a shared goal. You pick up so much just by being part of it,' Hales says.
Producer Fiona Copland says it's been great having Li and Bayedan in the studio. They've done good work, and our team has enjoyed passing on knowledge to young people who are passionate about craft.'
The experience has helped Hales see a creative career as a real option.
'It's been eye-opening to realise this is something I can actually pursue thanks to university support,' Hales says. 'The tools and teaching at UC are already really strong, but being in a working studio takes it to the next level.'
As part of the application process, Holling and Hales submitted CVs, completed a knowledge and skills test, and had an interview with the studio team.
Holling says sometimes just giving it a go can open doors you never expected.
'Even though I didn't meet all the job criteria when I applied, I threw my hat in the ring. I studied hard to upskill in areas I was less confident in. Even the interview taught me a lot. Whether you get the role or not, you're gaining experience, and that builds confidence for the next opportunity.'
Both students are passionate about promoting the value of stop-motion animation in Aotearoa.
'Kids' TV is a huge industry here. Everyone's chasing the next blockbuster, but there are so many amazing, more accessible local projects out there. The team is at the top of their game — it's incredible that we are bringing in that sort of creative talent,' says Hales.
Holling describes stop-motion as having a tactile charm that's hard to replicate in other formats.
'There needs to be more recognition of how important projects like Kiri and Lou are,' Holling says. 'It's not just beautiful storytelling for kids, its world-class stop-motion animation coming out of New Zealand. It's physical, it's hands-on, and it should be kept alive.'
The internship was made possible through UC's Kōawa Studios, which develops partnerships with screen and creative technology sectors to provide students with regular access and exposure to industry experts and real-world project opportunities as they build portfolios, connect with industry mentors, and find pathways into Aotearoa New Zealand's screen sector.
'Having something like this based in Christchurch is absolutely amazing,' Hales says. 'It's amazing to be a part of it.'
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NZ Herald
2 days ago
- NZ Herald
UC students step into the world of stop-motion animation
This article was prepared by University of Canterbury and is being published by the New Zealand Herald as advertorial. Two Te Whare Wānanga o Waitaha | University of Canterbury (UC) students are gaining hands-on experience in the screen industry through an internship with award-winning animation studio Stretchy Productions, the team behind the globally successful stop-motion children's series Kiri and Lou. Gaining hands-on animation experience Li Holling and Bayedan Hales, who are studying towards a Bachelor of Digital Screen with Honours at UC, are interning with Stretchy as part of UC's Work-Integrated Learning (WIL) programme, which connects students with professional placements that complement their academic studies. 'It's been eye-opening to realise this is something I can actually pursue, thanks to university support,' Hales says. 'The tools and teaching at UC are already really strong, but being in a working studio takes it to the next level.' The students are contributing to the production of Kiri and Lou Rarararara!, a feature film that tells the origin story of Kiri and Lou's friendship. The production team is based on-site at UC's Kōawa Studios led by Animation Director Antony Elsworthy alongside some of the world's best stop-motion animators. The opportunity to be part of a professional production while studying offers valuable real-world context for the Bachelor of Digital Screen with Honours degree, which focuses on storytelling, technology, and screen production skills. Working alongside professional animators, they learn how high-end stop-motion production comes together, gaining insight into studio workflows, team collaboration, and the creative problem-solving that defines the animation industry. Producer Fiona Copland says it's been great having Li and Bayedan in the studio. 'They've done good work, and our team has enjoyed passing on knowledge to young people who are passionate about the craft.' Connecting education with industry Kōawa Studios was established by UC to build partnerships within Aotearoa New Zealand's growing screen and creative technology sectors, provide students regular access and exposure to industry professionals, and help them apply their learning on real-world projects. Holling and Hales joined Stretchy through a competitive application process that included CVs, a skills test, and interviews with the production team. 'Even though I didn't meet all the job criteria when I applied, I threw my hat in the ring. I studied hard to upskill in areas I was less confident in. Even the interview taught me a lot. Whether you get the role or not, you're gaining experience, and that builds confidence for the next opportunity,' Holling says. Growing capability in local creative industries Both students are passionate about promoting the value of stop-motion animation in Aotearoa New Zealand. 'Kids' TV is a huge industry here. Everyone's chasing the next blockbuster, but there are so many amazing, more accessible local projects out there. The team is at the top of their game – it's incredible that we are bringing in that sort of creative talent,' Hales says. Holling describes stop-motion as having a tactile charm that's hard to replicate in other formats. 'There needs to be more recognition of how important projects like Kiri and Lou are,' Holling says. 'It's not just beautiful storytelling for kids, its world-class stop-motion animation coming out of New Zealand. It's physical, it's hands-on, and it should be kept alive.' Education–industry partnership Just like the series, the Kiri and Lou Rarararara! film will showcase some of New Zealand's top creative talents, including writer and director Harry Sinclair, known for his films Topless Women Talk About Their Lives and The Price of Milk, as well as his role as King Isildur in The Lord of the Rings. Joining him is composer Don McGlashan, an icon of New Zealand music who has crafted a comedic song for every episode of Kiri and Lou, blending his musical roots with the unique style of the series. The film is supported by the New Zealand Film Commission, NZ On Air, Screen Canterbury, and Hinterland.


Scoop
4 days ago
- Scoop
UC Students Step Into The World Of Stop-Motion Animation
Li Holling and Bayedan Hales, Bachelor of Digital Screen with Honours students at Te Whare Wānanga o Waitaha | University of Canterbury (UC), are gaining hands-on experience with Christchurch animation studio Stretchy, creators of the global stop-motion animation kids' show Kiri and Lou. 'Stop-motion is such a difficult industry to get into,' says Holling. 'The Kiri and Lou internship is an incredible opportunity. I'm only halfway through my second year, and already I'm getting to work in a high-quality studio." By working alongside professional animators and contributing to a major local production, Hales and Holling are applying their studies in a real-world context. Their internships are part of UC's Digital Screen Work-Integrated Learning (WIL) programme which connects students with professional experiences relevant to their degrees. 'The chance to work in a production environment is very different from being in class. You're surrounded by people who are really focused on a shared goal. You pick up so much just by being part of it,' Hales says. Producer Fiona Copland says it's been great having Li and Bayedan in the studio. They've done good work, and our team has enjoyed passing on knowledge to young people who are passionate about craft.' The experience has helped Hales see a creative career as a real option. 'It's been eye-opening to realise this is something I can actually pursue thanks to university support,' Hales says. 'The tools and teaching at UC are already really strong, but being in a working studio takes it to the next level.' As part of the application process, Holling and Hales submitted CVs, completed a knowledge and skills test, and had an interview with the studio team. Holling says sometimes just giving it a go can open doors you never expected. 'Even though I didn't meet all the job criteria when I applied, I threw my hat in the ring. I studied hard to upskill in areas I was less confident in. Even the interview taught me a lot. Whether you get the role or not, you're gaining experience, and that builds confidence for the next opportunity.' Both students are passionate about promoting the value of stop-motion animation in Aotearoa. 'Kids' TV is a huge industry here. Everyone's chasing the next blockbuster, but there are so many amazing, more accessible local projects out there. The team is at the top of their game — it's incredible that we are bringing in that sort of creative talent,' says Hales. Holling describes stop-motion as having a tactile charm that's hard to replicate in other formats. 'There needs to be more recognition of how important projects like Kiri and Lou are,' Holling says. 'It's not just beautiful storytelling for kids, its world-class stop-motion animation coming out of New Zealand. It's physical, it's hands-on, and it should be kept alive.' The internship was made possible through UC's Kōawa Studios, which develops partnerships with screen and creative technology sectors to provide students with regular access and exposure to industry experts and real-world project opportunities as they build portfolios, connect with industry mentors, and find pathways into Aotearoa New Zealand's screen sector. 'Having something like this based in Christchurch is absolutely amazing,' Hales says. 'It's amazing to be a part of it.'


Scoop
23-07-2025
- Scoop
International Animator Draws In UC Students
Press Release – University of Canterbury Michaela Ternasky-Holland, who specialises in creating installations and animated films using emerging technology such as artificial intelligence and extended reality (XR), is in Aotearoa New Zealand for the Doc Edge Festival, where her international … A New York-based Emmy Award-winning director has shared her industry insights with UC students during a rare Christchurch visit. Michaela Ternasky-Holland, who specialises in creating installations and animated films using emerging technology such as artificial intelligence (AI) and extended reality (XR), is in Aotearoa New Zealand for the Doc Edge Festival, where her international installation Kapwa won an Immersive Impact Award. On her first visit to Christchurch, Ternasky-Holland met with a group of Te Whare Wānanga o Waitaha | University of Canterbury (UC) Digital Screen students yesterday ahead of speaking at a Kōawa Studios-hosted Beyond the Screen: The Future of Immersive Storytelling industry event last night. She told the students that when she started out, she didn't know how to code and didn't have an engineering background. 'I really have a storytelling background and a people skills background.' She encouraged them to be flexible and open to new opportunities. 'I think a lot of my career has not necessarily just come from me being in the right place at the right time, but also me treating people with kindness and respect, no matter who they are, and not even realising that would open up doors of opportunity for me in the future.' Ternasky-Holland began creating her own VR documentaries in 2016 and since then she has created, directed, produced, and edited a number of social-impact focused XR projects, installations and animated films, including a new episodic animation series, Echoes of Legend, available on YouTube, and her Emmy-award winning VR documentary Capturing Everest. She says globally the art of animation is changing rapidly and AI offers tools that can help speed up the animation process by supporting artists and storytellers, rather than replacing them. 'If we can utilise some of these generative platforms to do things like frame-by-frame animation or in-betweening the animation, or even helping us get started by filling in background and environment and some lighting – all the things that really take that extra time and energy and budget – then we can have more storytellers and more character designers, background artists, just be able to focus on making good work, versus being stressed about finishing it. That's where AI really sits at its best.' Ternasky-Holland says generative AI cannot replace the skill of human storytellers. 'We can make really cool art, but if they don't have the amazing characters, storylines and plot points that we are inviting the audience to experience alongside the art, then we're just making beautiful photos and beautiful imagery, we're not actually making stories. So I think that's still very resonant.' UC Kōawa Studios Director Sam Witters says it was fantastic to have someone of Ternasky-Holland's calibre and international experience at the Beyond the Screen event, which was part of Kōawa's sponsorship of the Doc Edge Documentary Film Festival. 'Michaela is an amazingly innovative, creative filmmaker who is using cutting-edge technology in her work. Our Bachelor of Digital Screen students learned so much from meeting her and the panel event was really inspiring.'