It’s a studio, its an animation facility, it’s software, it’s an r&d center. It’s Montreal-based Taarna Studios and it has not only created innovative software and used it as the basis for a breakthrough production but is itself a working demonstration of a company that has leapt technology-first into the production ring.

Taarna, the creation of Pierre Lachapelle, was born in 1982 as a computer animation system. Lachapelle used the system in 1985 to create his first 3D animated short, Tony de Peltrie, which was fairly showered with international recognition and prizes for the level of sophistication apparent in the film’s characters.

Following the release of that film, Lachapelle founded Taarna and under that framework began undertaking various computer graphics projects, including commercial work and research and development.

Two years ago, Lachapelle began work on The Boxer, a 22-minute all-cg short created by Taarna and subsidiary TFX Animation that has, since a preview trailer of the film was shown at last year’s siggraph, gathered acclaim as one of the most shockingly realistic pieces of 3D animation yet.

The proprietary ‘clothing’ software used in The Boxer has broken ground in allowing a new level of realism in 3D characters and the project has meant that Taarna has covered the production waterfront – from developing its own means of creation, to developing content, to servicing other projects, to putting together funding and deals to get a tv-destined property on air.

Toward lending its characters an added dimension, Taarna has developed a software which incorporates an algorithm that allows characters the dignity and real-life charm of clothing – clothing that moves, folds, has texture – a notoriously difficult undertaking in 3D animation.

The Boxer also utilizes flesh, a 3D paint software developed by Taarna and now marketed by sister company Digits n’ Art which allows artists to paint directly on 3D computer models, as well as lifesource, a motion-capture system also being marketed by Digits n’ Art. Lachapelle says it will likely be about another year before the clothing software is made available for sale.

Taarna also used Pixar’s Renderman on The Boxer and all work was done on Silicon Graphics workstations. Music for the film was created by Rosnick MacKinnon and the project is expected to be completed by the end of this year.

Taarna utilized the Quebec tax credit to help fund the $4 million project and so far has struck a non-exclusive co-distribution deal with Montreal’s Le Groupe Multimedia du Canada. One Quebec broadcaster, Television Quatre Saisons, is on board and the company is looking for others in French and English Canada.

While it’s too early for the juicy details, Lachapelle says Taarna is looking toward developing other tv properties.

In terms of the high-tech-facility-as-content-creator recipe, Lachapelle says, ‘That’s what The Boxer has been all about. It’s something we’ve been developing for a long time, but basically we had to create all this technology first.’

Lachapelle cites the importance of the convergence of technological acumen and creative relevance to undertakings of this nature. ‘To create long-form projects you have to have interesting characters on screen to capture the attention of the audience,’ he says. ‘This has been our goal for many years. Up until now the technology hasn’t been quite ready, but now we’re getting there.’