Studio 100 Animation
Studio 100 Animation is a French animation studio headquartered in Paris, established in 2010 as a wholly owned subsidiary of the Belgian entertainment company Studio 100.[1] It specializes in developing and producing high-quality computer-generated imagery (CGI) content for children and families, including television series, feature films, and webisodes, with a focus on both classic brand revivals and original stories aimed at international audiences.[2] The studio has built a reputation for award-winning productions broadcast worldwide, having delivered over 250 half-hours of animated programming under its early leadership.[3] Key titles include the CGI series Maya the Bee, Heidi, Vic the Viking, Nils Holgersson, and Galactic Agency, as well as the feature film Vic the Viking and adaptations like Arthur and the Minimoys.[3] More recent projects demonstrate its ongoing commitment to family-oriented storytelling, such as the 2025 animated feature Heidi – Rescue of the Lynx, co-produced with international partners and released in multiple territories.[4][5] As part of the broader Studio 100 Group, which operates subsidiaries across Europe, North America, and Australia—including Studio Isar Animation in Munich and Flying Bark Productions in Sydney—Studio 100 Animation contributes to a vertically integrated pipeline for global distribution, licensing, and merchandising of kids' entertainment.[2] The studio's work emphasizes innovative techniques, such as virtual reality tools for CGI development, supporting its expansion in the competitive animation market.[2]Company Background
Founding and Origins
Studio 100, the Belgian media company founded in 1996 by Gert Verhulst and Hans Bourlon, expanded its portfolio through the acquisition of EM.Entertainment, the children's and youth entertainment division of EM.Sport Media AG, in July 2008 for €41 million (cash-free and debt-free). This deal included rights to iconic children's intellectual properties such as Maya the Bee and Vic the Viking, enabling Studio 100 to enter the international animation and licensing markets with established brands.[6][7] To capitalize on these assets and build in-house animation capabilities, Verhulst and Bourlon spearheaded the establishment of Studio 100 Animation as a fully owned subsidiary. The studio was incorporated on August 4, 2008, in France, and officially announced on February 12, 2009, based in Paris, France.[8][9] The strategic choice of Paris positioned the studio within Europe's vibrant animation hub, facilitating access to skilled talent and production resources for family-oriented content.[10] From its inception, Studio 100 Animation focused on producing high-quality 2D and 3D animated series and films aimed at international audiences, with an emphasis on remakes of classics and original stories through European co-productions. Under the vision of Verhulst and Bourlon, the studio aimed to create positive, non-violent programming that could leverage the parent company's broader entertainment ecosystem, including television and merchandising.[10]Organizational Structure
Studio 100 Animation is headquartered at 105 Rue La Fayette in Paris, France, with additional offices in Schelle, Belgium; Munich, Germany; and Breda, Netherlands, facilitating European collaborations.[11] The studio's leadership team, as of 2025, is headed by Katell France as Managing Director, Emmanuelle Chabord as Chief Financial Officer and Chief Operating Officer, and Jérôme Mouscadet as Creative Director, supported by key roles including Olivier Nomen in Business Affairs, Quentin Auger as Technical Director, and several line producers such as Nadine Mombo and Jean-François Ramos.[11] Organizationally, the studio operates with a hierarchical structure centered on animation production divisions, encompassing in-house teams dedicated to storyboarding, animation, and post-production processes.[11] As of 2025, Studio 100 Animation employs between 51 and 200 staff members, emphasizing integrated workflows that support both 2D and 3D animation techniques across its projects.[12][13] Financially, the studio relies on subsidies from the French Centre national du cinéma et de l'image animée (CNC), which provide significant support for animation production in France, alongside distribution and content partnerships with broadcasters such as TF1 and ZDF.[14][15]Historical Timeline
Early Development (2009–2015)
Studio 100 Animation was established in February 2009 as a fully owned in-house animation studio by the Belgian family entertainment group Studio 100, based in Paris, France, to expand into the animation sector through self-financed projects, co-productions, and development of family-oriented content using advanced CGI technology.[8] The studio's initial focus was on creating high-definition animations, with plans to produce up to two projects annually, emphasizing remakes of classic stories and original series to build a robust pipeline for European and international markets.[8] The studio's flagship project, the debut television series Maya the Bee (2012–2017), launched in 2012 as a modern 3D CGI adaptation of Waldemar Bonsels' 1910 German children's novel Die Biene Maja, featuring 78 episodes of 13-minute adventures centered on a curious young bee exploring the world beyond her hive.[16] Produced in association with French broadcaster TF1 and German public broadcaster ZDF, the series marked Studio 100 Animation's entry into co-productions with major European networks, facilitating broad distribution across Europe and later into markets like North America.[16] Following this, the studio produced Vic the Viking (2013–2014), a 78-episode 3D CGI series adapting Runer Jonsson's books about a clever young Viking boy and his clan's seafaring exploits, representing an early venture into historical adventure animation for children aged 5–8.[17] During these formative years, Studio 100 Animation faced the task of constructing efficient animation pipelines from scratch in a competitive European market, including hiring key personnel like Managing Director Katell France in 2010 to oversee production growth and co-financing strategies.[11] Securing international distribution proved essential, with early efforts building on partnerships to license content beyond Europe, such as Maya the Bee's expansion to Australian and North American broadcasters.[16] A key milestone came in 2013 when the studio contributed to its first feature film through ties to the newly formed subsidiary Studio 100 Film, producing Maya the Bee Movie (released 2014), a 3D CGI adventure that set the foundation for broader cinematic expansion.[18]Growth and Expansion (2016–2020)
During this period, Studio 100 Animation broadened its focus on literary adaptations to diversify its intellectual properties, continuing the momentum from foundational series such as Maya the Bee. The studio's 3D-animated series Heidi, based on Johanna Spyri's enduring novel, saw its second season premiere in 2019 with 26 episodes of 22 minutes each, airing on TF1 in France and achieving distribution in over 100 countries worldwide.[19] Complementing this, Nils Holgersson, a modern CGI adaptation of Selma Lagerlöf's classic tale, was produced from 2016 to 2017 as a 52-episode series (11 minutes per episode) targeted at children aged 6-11, emphasizing themes of adventure and environmental respect through Nils's journey with wild geese.[20] The studio marked a pivotal expansion into feature-length animation with the release of its debut film, Vic the Viking and the Magic Sword, in December 2019. This 81-minute CGI production, co-produced with Studio 100 Media and Belvision Studios, followed young Vic's quest to break a magical curse on his village, appealing to audiences aged 6-12 and distributed theatrically in France by SND.[21] Concurrently, the CGI series Arthur and the Minimoys (2017–2018), inspired by Luc Besson's fantasy universe, delivered 26 episodes of 26 minutes each, centering on 10-year-old Arthur's dual life in the human and minimoy worlds for viewers aged 6-10.[22] Reflecting a strategic pivot toward CGI-intensive projects and greater international collaboration, Studio 100 Animation initiated production on Galactic Agency in 2019, a 2D-animated comedy series co-developed with Singapore's Cosmos-Maya, featuring 52 episodes of 13 minutes for children aged 6-9 about a team of quirky repair agents in space.[23] This partnership exemplified the studio's growing emphasis on Asian co-productions to enhance creative output and global reach. The broader Studio 100 Group's acquisition of a majority stake in German media firm m4e in 2017 further supported animation expansion by integrating established IPs and distribution networks.[24] By 2018, the establishment of Studio Isar Animation in Munich bolstered in-house CGI capabilities, contributing to a surge in production volume and international sales during this era.[13]Recent Achievements (2021–2025)
In 2020, Managing Director Katell France departed after a decade leading the studio, transitioning to independent production while continuing to contribute to the animation sector.[3] As part of the Studio 100 Group, Studio 100 Animation contributed to franchise expansions, including the CGI feature Maya the Bee: The Golden Orb, released in theaters in 2021 and co-produced with Studio 100 Media.[25] The studio also supported the 2025 animated feature Heidi – Rescue of the Lynx, co-produced with international partners including Studio 100 International and 3 Doubles Producciones, which premiered in June 2025 in Germany and other territories, focusing on environmental themes through Heidi's alpine rescue mission.[26] Market successes bolstered the group's profile, with strong pre-sales at events like EFM and AFM as of February 2025. For instance, ahead of EFM 2025, deals were finalized for animated features including Miss Moxy and North, signaling robust global demand.[27] In 2024, Studio 100 International presented HD remasters of classic series such as Pinocchio at MIPCOM, revitalizing archival content for modern platforms and broadening accessibility.[28] Sustainability efforts gained recognition with a win in the Best Licensed Sustainable Project category at the 2024 Bologna Licensing Awards, honoring collaborations like the eco-focused initiatives with Maya the Bee.[29]Productions
Television Series
Studio 100 Animation has produced a diverse portfolio of animated television series, primarily targeting children aged 4–10, with a focus on adventure, friendship, and educational themes. Early productions largely adapted classic literary works into modern 3D CGI formats, introducing timeless stories to new generations through vibrant animation and relatable characters. Over time, the studio shifted toward original intellectual properties (IPs), incorporating interactive and transmedia elements to engage young audiences in multifaceted storytelling experiences, such as apps and toys integrated with episodic content. This evolution reflects a broader emphasis on innovative, globally appealing content that blends humor, moral lessons, and technological integration. Maya the Bee (2012–2017) is a 3D CGI adaptation of the classic children's book, spanning 3 seasons and 78 episodes of approximately 11 minutes each. Aimed at children aged 4–7, the series follows the adventurous young bee Maya as she explores the world beyond her hive, learning about friendship and nature. It premiered on TF1 and Canal J in France, Gulli and Tiji, as well as ZDF in Germany. Vic the Viking (2013–2014), a 3D CGI reboot of the beloved comic and book series, consists of 2 seasons and 52 episodes of 12 minutes each, targeted at ages 6–10. The show chronicles the clever young Viking Vic and his village's escapades on the high seas, emphasizing wit over brute strength. It aired on TF1 in France, ZDF in Germany, Network Ten and Eleven in Australia, and ABC3. K3 (2014–2015) is a 2D animated music-based series drawing from the popular Belgian-Dutch girl group, featuring 1 season and 52 episodes of 11 minutes, for ages 6–9. It depicts three teen pop stars—Kim, Kate, and Kylie—navigating a world tour filled with adventures and performances that promote teamwork and creativity. Broadcasters included M6 and Canal+ Family in France.[30] Heidi (2015–2019), a 3D CGI adaptation of Johanna Spyri's novel, comprises 3 seasons and 78 episodes of 22 minutes each, suited for ages 5–8. The narrative centers on orphan Heidi's life in the Swiss Alps, highlighting themes of family and nature. It was broadcast on TF1, Tiji, and Piwi+ in France, ZDF in Germany, and the Nine Network in Australia.[31] Arthur and the Minimoys (2017–2018) marks a 3D CGI extension of Luc Besson's film franchise, with 1 season and 52 episodes of 11 minutes, aimed at ages 6–10. The series follows 10-year-old Arthur's journeys into the Minimoy world, blending fantasy and problem-solving. It debuted on France Télévisions and was distributed internationally.[22] Nils Holgersson (2017) is a 3D CGI miniseries based on Selma Lagerlöf's novel, consisting of 52 episodes of 12 minutes as a single-season format, for ages 6–9. It portrays the shrunken boy Nils traveling with wild geese, discovering empathy and the Swedish landscape. The series aired on France 3 and ZDF.[20] Transitioning to original concepts, Galactic Agency (2019) is a 3D CGI series with 1 season and 52 episodes of 13 minutes, targeting ages 6–9. This comedic sci-fi follows repair specialists fixing mishaps in a quirky galaxy, underscoring collaboration and ingenuity. It has been distributed globally, including on platforms like Tubi. 100% Wolf: Legend of the Moonstone (2020–2023), a 3D CGI original co-produced with Flying Bark Productions, features 2 seasons and 52 episodes of 22 minutes, for ages 6–11. Centered on Freddy Lupin, a poodle aspiring to be a werewolf, it explores identity and bravery at Howlington Academy. Premiering on ABC Me in Australia, it reached international audiences via IMDb TV and others. FriendZSpace (2021–present), an ongoing 3D CGI comedy-adventure with 2+ seasons and over 52 episodes of 11 minutes, aimed at ages 5–9. Three kids befriend aliens across the galaxy, tackling challenges with humor and cultural exchange. It streams on ITVX in the UK, Peacock and Kabillion in the US.[32] Upcoming Mortina (2025), a 2D animated spooky mystery-comedy based on Barbara Cantini's books, will deliver 52 episodes of 11 minutes in two batches (26 by end-2025, 26 by end-2026), for ages 6–9. The story follows zombie girl Mortina navigating life in Crumbling Manor, addressing acceptance and fear. Co-produced with Rai Kids and RTÉ, it emphasizes emotional growth in a whimsical horror setting.[33] Momonsters (2020–2022), a transmedia TV project blending 2D and CGI elements, offers 78 episodes of 7 minutes across 2 seasons, targeted at preschoolers aged 3–6. At Momonsters Academy, children share their favorite things with monster friends, fostering empathy through interactive TV, app, and toy integrations. It promotes belonging and has been showcased at MIPCOM for global distribution.[34]Feature Films
Studio 100 Animation has produced a series of family-oriented animated feature films since 2014, often in collaboration with international partners, focusing on adventurous tales adapted from popular children's book series or original stories. These films typically feature 3D CGI animation, with runtimes between 75 and 100 minutes, and emphasize themes of friendship, courage, and environmental awareness targeted at audiences aged 4-10. Many are co-productions involving studios from Australia, Germany, and Belgium, with Studio 100 Film handling international sales and distribution in over 100 territories.[35] The studio's inaugural feature, Maya the Bee (2014), co-produced with Australia's Flying Bark Productions, follows a curious young bee challenging hive traditions amid a conflict with hornets; directed by Bodo Hell and Alex Stadler, it runs 89 minutes and grossed approximately $29.6 million worldwide.[36][37] Blinky Bill the Movie (2015), another collaboration with Flying Bark, centers on a mischievous koala searching for his father in the Australian outback; directed by Deane Taylor, the 93-minute film had a budget of about €12.8 million and earned $4.3 million globally.[38][39] The sequel Maya the Bee: The Honey Games (2018), directed by Sergio Delfino, depicts Maya assembling a team of insects for a high-stakes competition to save her hive; this 85-minute entry grossed $10.8 million.[40][41] Subsequent releases include Vic the Viking and the Magic Sword (2019), a 77-minute adventure directed by Stefan Fjeldmark and Phil Lafrance, where a clever young Viking retrieves a stolen artifact; it achieved $2.8 million in worldwide earnings through Studio 100's distribution network.[42][43] 100% Wolf (2020), directed by Alexs Stadler, explores a teenage werewolf's transformation mishaps in a 96-minute story, grossing $8.1 million internationally.[44][45] The third Maya the Bee installment, The Golden Orb (2021), directed by Noel Cleary, involves a 88-minute quest to thwart an ant invasion and earned $4.3 million.[46][47] More recent films blend animation with hybrid elements, such as Mia and Me: The Hero of Centopia (2022), a 85-minute live-action/CGI hybrid directed by Adam Gunn, where a girl enters a magical world to fulfill a prophecy; it grossed $4.2 million, with Studio 100 Media overseeing production and sales.[48][49] 200% Wolf (2024), the sequel to 100% Wolf directed by Alexs Stadler, follows the protagonist's cosmic adventure in 98 minutes and has accumulated $4.9 million at the box office to date.[50][51] Heidi: Rescue of the Lynx (2025), directed by Tobias Schwarz, reimagines the classic tale as an 85-minute environmental adventure protecting alpine wildlife, distributed by partners like Apollo Films in France. It grossed $3.1 million worldwide as of November 2025.[52][26][53] Upcoming projects include Rally – From Paris to the Pyramids (2025), an 81-minute action-comedy directed by Rasmus A. Sivertsen about a mouse inventor in a global race, set for delivery by late 2025 with Nordisk Film handling Scandinavian distribution.[54][55] In development are The Last Dodo (delivery 2027), a 85-minute family adventure directed by Jun Falkenstein about time-traveling siblings saving an extinct bird, co-produced with Cheeky Little Media; Miss Moxy (2025 premiere internationally, 2026 in select territories), a road-trip comedy featuring a lost cat's European odyssey, with sales secured in multiple territories; and North (2025), an 85-minute adaptation of The Snow Queen directed by Bente Lohne and the Norwegian team, starring voices like Mads Mikkelsen. It premiered in Norway on November 7, 2025, for international sales outside Scandinavia.[56][57][58]| Title | Release Year | Director(s) | Runtime (min) | Budget (est.) | Box Office (worldwide) | Distribution Notes |
|---|---|---|---|---|---|---|
| Maya the Bee | 2014 | Bodo Hell, Alex Stadler | 89 | €10-15M | $29.6M | Studio 100 Film international sales; co-prod. Flying Bark[36][37] |
| Blinky Bill the Movie | 2015 | Deane Taylor | 93 | €12.8M | $4.3M | Studio 100 co-distribution; co-prod. Flying Bark[39][38] |
| Maya the Bee: The Honey Games | 2018 | Sergio Delfino | 85 | €10-15M | $10.8M | Studio 100 Film sales[40][41] |
| Vic the Viking and the Magic Sword | 2019 | Stefan Fjeldmark, Phil Lafrance | 77 | €8-12M | $2.8M | Studio 100 distribution; co-prod. Belvision[42][43] |
| 100% Wolf | 2020 | Alexs Stadler | 96 | €10-15M | $8.1M | Studio 100 international[44][45] |
| Maya the Bee: The Golden Orb | 2021 | Noel Cleary | 88 | €10-15M | $4.3M | Studio 100 Film sales; co-prod. Flyng Bark[46][47] |
| Mia and Me: The Hero of Centopia | 2022 | Adam Gunn | 85 | €12-18M | $4.2M | Studio 100 Media; hybrid format[48][49] |
| 200% Wolf | 2024 | Alexs Stadler | 98 | €10-15M | $4.9M (as of November 2025) | StudioCanal Australia, Studio 100 intl.[50][51] |
| Heidi: Rescue of the Lynx | 2025 | Tobias Schwarz | 85 | €15-20M | $3.1M (as of November 2025) | Studio 100 sales; deals in France, Poland[52][26][53] |
| North | 2025 | Bente Lohne et al. | 85 | N/A | N/A (recent) | Studio 100 international sales outside Scandinavia; Norway premiere Nov 7, 2025[60][58] |
| Rally – From Paris to the Pyramids | 2025 | Rasmus A. Sivertsen | 81 | €10-15M (est.) | N/A (upcoming) | Nordisk Film Scandinavia, Studio 100 intl.[54][55] |