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  • Leftchannel Creates Animated Technique for Netflix’s “Audrie & Daisy” Documentary

    Leftchannel Creates Animated Technique for Netflix’s “Audrie & Daisy” Documentary

    Earlier this year, leftchannel received a prestigious Annie Award nomination for “Best Animated Special Production” for the Sundance hit and Netflix-acquired “Audrie & Daisy,” (www.audrieanddaisy.com). The team at leftchannel, led by Founder/Creative Director Alberto Scirocco, created a specific animation technique for the powerful documentary, currently streaming on Netflix.

    A Netflix Original Documentary, “Audrie & Daisy” is an urgent real-life drama that examines the ripple effects on families, friends, schools and communities when two underage young women find that sexual assault crimes against them have been caught on camera, with one being driven to suicide because of extreme cyber bullying. From acclaimed filmmakers Bonni Cohen and Jon Shenk (“The Island President,” “The Rape of Europa”), “Audrie & Daisy” — which made its world premiere at the 2016 Sundance Film Festival — takes a hard look at America’s teenagers who are coming of age in this new world of social media bullying, spun wildly out of control.

    The independent filmmakers approached leftchannel in 2016 in-line with the film’s Sundance premiere to create a unique, animated look for the film’s series of depositions, which included testimony from underage defendants. The filmmakers wanted to include the deposition footage, but not reveal the defendants’ true identities.

    The leftchannel team did not simply animate to hide the identity of the individuals; they actually created avatars in animation that repeated the emotion of the individuals but with different facial features. “First, we created these alternate people who behaved the same way and repeated the same emotion,” details leftchannel Founder/Creative Director Alberto Scirocco. “Then, we animated them. This technique is very specific to this type of application. It allowed us to maintain the actions, the emotions, the reactions to the positions, the drama, the individual’s humanity while still completely masking their personality; not by merely covering it, but by completely transposing it. The people that we created intentionally had completely different facial features than the original ones – pretty drastically.”