Big news dropping from the European animation scene, no cap! STIM, the French animation and visual effects powerhouse known for its killer work on projects like ‘The Wild Robot’, ‘The Garfield Movie’, and ‘Coyote vs. Acme’, is setting up shop in Spain’s Canary Islands. This move is straight up a game-changer, with plans to churn out more than 100 jobs and seriously beef up their European operations. STIM Tenerife is getting ready to kick off operations in August, and they’re aiming to have 60 people on board by the end of 2026. They’re already on the hunt for top-tier talent like character modelers, set and prop modelers, and look-development artists, among other high-skilled positions. For real, this is a major win for the region!
A key reason for this strategic expansion, according to the report, is the Canary Islands Special Zone, or ZEC. This isn’t just some random spot; it’s a low-tax regime that’s a magnet for qualifying companies operating in the Spanish archipelago. This kind of setup allows companies to maximize their investment and focus on growth, which is super smart business. It’s clear that the Canary Islands are making themselves a seriously attractive hub for creative industries, offering a sweet deal for companies looking to expand their footprint.
Amélie Houpline, identified as STIM Tenerife CEO, highlighted the significance of this expansion, stating that ‘The opening of STIM Tenerife in the Canary Islands marks a strategic stage in STIM’s evolution.’ She further elaborated that the company has discovered an environment that perfectly combines talent, significant development potential, and a truly dynamic creative community. This endorsement from a leader within the company shows just how much potential they see in this new venture and the local ecosystem.
Founded by Félix Ferrand, Jordan Soler, and Benoit Gielly, STIM has a track record of specializing in 3D animation, VFX, and digital production for film, TV, and advertising. Starting with operations in France and Belgium, the company has evolved from a studio primarily focused on character work into a full-fledged powerhouse capable of handling entire projects from the initial design and pre-production stages all the way to final delivery. Their impressive portfolio also includes collaborations with DreamWorks Animation, notably on the facial and body rigging for several characters in ‘The Wild Robot’, and work on FX’s Emmy-winning ‘Shōgun’.
This new Tenerife operation isn’t just about adding more hands on deck; it’s designed to significantly increase the company’s production capacity while also shoring up financing structures that span France, Belgium, and now the Canary Islands. The report suggests that this expanded footprint could offer producers more diverse options when it comes to assembling European animation and VFX financing, potentially streamlining the process and making it more appealing for international projects. It’s a smart play to build robust European connections.
STIM’s arrival is a big deal, especially as the Canary Islands continues to bolster its animation, VFX, and digital-arts sector. According to figures provided by the ZEC, the region now boasts over 30 specialist companies and nearly 2,000 professionals. This marks a significant jump from a relatively small industry less than a decade ago, showcasing a rapid and impressive growth trajectory. ZEC President Pablo Hernández, as stated in the article, remarked, ‘A few years ago, there was practically no animation industry in the Canary Islands. Today, we have dozens of studios, close to 2,000 professionals and projects for some of the world’s largest entertainment companies.’
The current landscape of studios operating in the islands is pretty lit, including renowned names like Fortiche, the studio behind ‘Arcane’, as well as Atlantis Animation, 3 Doubles Producciones, Tomavision, Gigglebug, Amuse Studios, and Ánima Kitchent. Recent investments, such as Surfing Giant Studios’ Tenerife operation and DNEG’s backing of Ánima Kitchent (supported by the Spanish government’s SETT), underscore a concerted effort to scale up the sector. This level of industry density means a vibrant ecosystem is forming, attracting more talent and projects.
According to the ZEC President, Pablo Hernández, STIM’s arrival demonstrates that the archipelago ‘has ceased to be a promise and has become an established reality within the international animation industry.’ Hernández emphasized that the impact of these latest investments goes beyond simply attracting individual companies or productions. He highlighted that the region is witnessing ‘the creation of a genuine industrial ecosystem, with local talent, specialist training and companies capable of leading global productions,’ signaling a shift from merely drawing specific projects to attracting permanent centers for decision-making, production, and creative development.
Looking ahead, the next phase of development for the Canary Islands, as outlined by Hernández, involves strengthening local intellectual property, cultivating original content, and drawing in larger-scale international investment. Industry projections are pretty optimistic, suggesting that the Canary Islands could see between 3,000 and 4,000 specialized animation and digital-arts jobs created in the coming years. That’s a serious amount of growth, fam, and it’s definitely something to watch!
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
