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Archive for November 2011



India's animation sector is witnessing a major boom. Overseas entertainment giants like Walt Disney , Imax and Sony are increasingly outsourcing cartoon characters and special effects to India . Other companies are outsourcing animation from India for commercials and computer games.
So what makes India a hub for animation? Why is the sector experiencing exponential growth? In this special series, we take a look at what makes India shine in the world of animation.

  • A full-fledged feature film called Tommy and Oscar is in the final stages of production at the Toonz Animation Studio, Technopark, Kerala .A team of artists and technicians is working frenetically to complete the film for the Italian producer Rainbow Productions.
  • Applied Gravity, a New Zealand-based company, has outsourced nearly 90 per cent of it animation work to Nipuna Services, the business process outsourcing subsidiary of Satyam Computer Services. An animatronics dog for Animal Planet (Discovery channel) for a popular episode called K9 to11 and animatronics models for New Zealand theme parks were some of the best-known creations of Applied Gravity in India.
  • The Walt Disney Company has outsourced some of its major animation projects to various studios across India. Cartoon Network is buying animation films made in India. MTV has added India to its outsourcing hub along with the Philippines and South Korea.
A new outsourcing fever has gripped India.
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Global entertainment majors like Walt Disney, Imax, Warner Brothers and Sony are signing up huge contracts with Indian animation companies.
And cities in India like Mumbai , Chennai, Bangalore, Hyderabad and Trivandrum have emerged as the country's major animation hubs.
A slew of companies across these cities have dedicated themselves to the outsourced world of animation and special effects. These include Toonz Animation, Crest Communications, Maya Entertainment, Silvertoon Studio, UTV Toons, Zee Institute of Creative Arts, 2NZ Studios, Pentamedia Graphics, Prasad Studios, Acropetal, JadooWorks, Color Chips and Heart Animation.
These animation firms have set up large production studios that are equipped with state-of -the-art equipment and hardware and software like SGI, 3DMax and SoftImage, SFX and processing motion capture facilities.
"Work is pouring in from places like the United States, Europe and Asia in the form of outsourced projects and co-production deals," points out P Jayakumar, Chief Executive Officer of Toonz Animation, arguably India's biggest animation player.
Toonz Animation is a complete state-of-the-art facility, staffed with internationally trained creative professionals from around the world. Its primary studio, Studio A, is located at Technopark in Trivandrum where over 400 artists and technicians create animated 2D and 3D films.
Jayakumar says Toonz formats include episodic television animation, ad films, direct-to-video and feature length.
Animation veterans like Jayakumar says that India has become an outsourcing hub for animation films because:
  • India has a vast base of English speaking workforce: Animation, which requires familiarity with the English language, benefits when the work is outsourced to India. A number of animation companies in the country are also creating skilled manpower for the animation market through various training programmes.
  • Presence of good studios: India has the second largest entertainment industry in the world, after Hollywood. Animation studios in the country provide a large supply of low-cost, high-quality software engineers. A number of Indian animation companies have set up hi-tech studios (equipped with state-of-the-art hardware and software) to execute overseas projects.
  • Low cost of animation services: The main reason why foreign entertainment firms are flocking to India is the cost advantage the country offers. For instance, in the US, animators can cost about $125 an hour; in India, they cost $25 an hour. Toonz Animation offers animation at 25 per cent to 40 per cent lower rates than other Asian studios and much lower than those of American studios.
The total cost for making a full-length animated film in America is estimated to be $100 million to $175 million. In India, it can be made for $15 million to $25 million.
C K Prahlad, an animation consultant based in Bangalore, says the biggest advantage is the cost factor. "Indian animation companies are charging extremely low rates compared to other countries. That is attracting the Hollywood companies to outsource their animation film series to the country," he said.
Major US animation studios and producers are realizing this huge cost advantage that India offers.
"Due to changing viewing habits, channels or networks are being forced to bring down licence fees. As a result, the volume of work has been dropping.
In this situation, India's advantage of low production costs could be a boon to the domestic animation industry," said Margaret Dean, Sony Pictures' head of family entertainment group and a consultant to various animation studios in the US, during a recent India visit.
According to the National Association of Software and Services Companies (Nasscom), the total revenues of the animation production services sector in India were estimated by between $200 million and $300 million in 2004.
Nasscom estimates the animation sector grew at a rate of over 20 per cent last year. "Demand for animation production services from India is growing with the emergence of an organised animation production sector, with state-of -the-art of work required for international TV program production, at substantially lower costs," a Nasscom report said.
Last year, a Nasscom study on the animation industry showed that the global animation production market is set for major growth. The study, which is based on multiple statistical projections on the market, from segments such as industry sources, Pixel Inc and Arthur Andersen (Study on the Entertainment and Media sector) forecast that the global animation market would generate revenues worth $50-70 billion this year.


"An animator is an actor with a pencil", goes the oldest and truest animation cliché. Not "a draftsman that acts", but first and foremost - an actor. If you're trying to tell a story through a character, inevitably you're an actor. The only question is whether you are a good actor or a bad one.

My feeling is that in the past few years, while there's been great progress technology-wise, the art of acting in animation has been abandoned. Compared with the acting quality of characters such as Shere-Khan (The Jungle Book), Captain Hook (Peter Pan) and others, today's characters are pale, dull, and lack personality. In better cases, an exceptionally interesting voice-talent saves the day (Robin Williams as the genie in Aladdin); but usually the script alone is responsible for providing the characters with some sort of personality.

In the various internet forums one can find threads concerning software, design, textures - some even talk about movement - but it's rare to read something about acting. I haven't yet seen a comment saying something like "the animation is good, but the character has no personality". It seems that the level of expectations is so low, that it's enough for an animator not to make technical errors. Would you consider praising a writer simply because he made no spelling mistakes?

In the following article I have put on paper my thoughts considering acting in animation, which apply to any form of character animation - including 3D. The article is not meant to provide a "good acting in animation" formula - simply because such a formula does not exist. Every animator has his personal attitude, every film has needs of its own, and undoubtedly there are other ways of getting good acting. The goal is to propose a "toolbox" for the actor/animator, and maybe raise - even a little - the animators' awareness of acting in animation.

What is good acting?
When I ask my students what they think good acting is, the first answer is usually "believable acting". But credibility is only one side of the story. Good acting is believable and interesting. In my opinion, these two attributes wholly define good acting. With this idea as an axiom, we will try to separately analyze what makes acting believable, and what makes it interesting.

I. Believable acting
In the life of an animator there are short and rare moments of true magic. Those moments are the reason I became an animator, and they are the reason I still am one. I'm talking about a moment in which you look at the animation you've just created, and suddenly you believe your own character. Suddenly it's alive, it's there in its own right. Those are the moments of believable acting.

Believable acting holds a great power over the viewers, because the character they're watching gets a sort of meaning. Every man has meaning to us - even if we don't always think about it: If a total stranger sitting next to you on the bus suddenly collapses, you will not be indifferent - because the very fact that he is a flash and blood human earns him that meaning. This is why we feel sorry when Bambi's mother dies: we believe her and we believe Bambi, and both of them mean something to us. On the other hand, the characters in South Park are anything but believable, which is why there's no problem killing Kenny in each chapter.

(This might be the right place to reemphasize that the animator is of course not solely responsible for contributing meaning to the characters - script has an important part in it too. This article, however, is dealing with animation).



Believable acting means that the audience feels that the character's actions are the result of its own inner motives
, and not the animator's inner motives; that the character feels, thinks and reacts consistently according to its personality and mood. I emphasized the last sentence since it encapsulates many of the ingredients of convincing acting:

Feel.
The aim here is not just to portray clear and defined feelings (happy, sad, etc.) but to look for a kind of inner feeling that we have in us all the time - maybe it can be called "consciousness". Try to "feel" your character when you create animation, not just move it around according to the principles of animation.

Think
.
Your character shouldn't always act on immediate instincts. Look for opportunities to show thinking process, which leads to decision and action. It will enrich your animation with depth, complexity and believability.

React
.
Acting is actually more or less a series of reactions - the character reacts to its environment, to other characters, to stimulus. Every action must have a reason. Make sure you know what your character is reacting to, and that the reaction is reasonable (in other words: it's reasonable that this particular character will react in this particular way).

Consistency
.
Retain a consistent attitude to your character's reactions. A shy character (small, timid movements) that unexpectedly acts in an extroverted way with no clear reason, will suffer great damage to its credibility.



Personality
.
The character's personality dictates its reactions - i.e., its acting. Again, we are not necessarily talking about a definite personality such as "arrogant", "grumpy", etc. Try to get to know your character the way you know a family member or someone you work with. What makes him tick? What is he afraid of? What are his problems?

Mood
.
Mood resembles personality - it, too, dictates the character's reactions - but unlike personality, its effect is temporary. For example: a guy who's hurrying to work acts and reacts in a very different way than the very same guy as he calmly walks his dog in the evening.

* * *

Reading the above notions, one might think - "hey, all those things belong to the script and storyboard! Reactions, personality, mood - I can't control that! I'm just the animator here, my job is merely to move the character around and make sure there's a lot of anticipation!". My answer is in the following example:

The storyboard shows a character entering the frame, and looking angrily at another character. You're assigned to the scene, and the questions that should arise are: does the character enter slowly? Quickly? Determinedly? Hesitantly? Does he stop suddenly or gradually? Did he know the other character would be there, or does he spot it in the scene? Is he furious, or merely dissatisfied? What sort of anger is it - helpless (like a child's anger towards his parents), or superior (like a parent's towards his child)? And so on and so forth.

The actor/animator's task is to carefully read the script, study the storyboard, and try to "get into" the character
. In other words: to find the character's inner feeling and to "wear" it for a while as if it was his own - so that he can get to know and understand the character. A good actor doesn't invent his acting - he discovers it. And still the animator faces the tough challenge of putting the experience into his animation, keeping the principles of motion. It isn't easy, but the reward - that magical moment of believable animation - is worth the effort.

PowerPoint animation is a form of animation which uses Microsoft PowerPoint and
interactive, similar to Adobe Flash.
Microsoft PowerPoint 2010 adds new transitions and animations, and makes changes to previously added animations, adding Fade effects to animations such as Wipe.
Animation Trigger
Animation Trigger is another feature introduced in Microsoft PowerPoint 2002/XP and the later versions (but, to date, not for Macintosh). This feature allows animators to apply effects that can be triggered when a specific object on the Slide Show is clicked. This feature is the basis for the majority of PowerPoint games, which usually involve clicking objects to advance in the game.
Games
Using hyperlinks and Animation Triggers, one can create games such as Jeopardy, using the tools to maneuver from question to answer. Taking this same principle, the animator can also make more complex games similar to a dungeon game or escape-the-room game. In this format, the animator can create a domain where the player chooses to go right or left, or pick up objects, and so forth. The process takes time, but is generally cheaper and easier than using multimedia software such as Adobe Flash.
For more experienced users, Visual Basic for Applications (VBA) is also commonly used in PowerPoint to keep scores, enter inputs and so forth. With the help of VBA, animations can be programmed with more flexibility.
Movies
A battle scene in the PowerPoint short movie, Shadow Fighter: The Movie, produced by PowerPoint Heaven
PowerPoint can also function as a movie maker program. The animator using PowerPoint works similarly to an animator using cels, using a succession of slides to create the illusion of movement. Many tools within the PowerPoint program can be easily used for maximum effect. Drawing tools such as AutoShapes, contains lines, connectors, basic shapes, block arrows, flowchart components, ‘freeforms’ (AutoShapes drawn by the mouse on pen tool) and banners, callouts and action buttons, help draw out a slide. Custom Animations and sound tools can also be used to help add excitement to the project and create interest in what might have been an otherwise dull presentation. The process of drawing out multiple slides takes time, but, again, it is considered to be less expensive and easier to use than buying and using professional graphics animation software.
Another way to produce these animations is by animating a cartoon as a single slide acting as a frame of film. This allows the slide show to run like an animated film. This is time consuming, but the artist has much more control and can do much more detailed and precise animation. It also allows control over the timing of the animation. This also makes editing of the animation easier afterwards. On average, month’s work of such animation usually ends up at about a minute in length. A three minute animation can take around three to four months to complete depending on the amount of detail, these lengthy cartoons usually run around 1,800 slides.
Using Custom Animation, cartoons or movies similar to those created in Adobe Flash can be done with PowerPoint. With minimum time, an animator can produce a simple show similar to a stick figure movie, where the body movements are animated using Motion Paths and Emphasis effects. An example released under PowerPoint Heaven, has a section called the Shadow Fighter series which demonstrates PowerPoint movies.
Distribution
While PowerPoint offers various distribution formats, notably in PowerPoint Show (.pps, .ppsx) and web page (.html), not all animation functions work accurately when saved as a web page or executed with a PowerPoint Viewer. Standalone EXE is also an alternate way for a creator to distribute his work with PowerPoint Viewer embedded. This allows for the audience without access to PowerPoint to view these works, as well. Animation works can be easily created by amateur artists which are then distributed on the web, though technical knowledge is required to create a notable work. A screen capture can also be used to manually convert a PowerPoint movie into a more viable format (e.g. WMV).
Drawbacks
Though animations can be created easily using Custom Animations provided in Microsoft PowerPoint, it may be much more tedious to complete a project in PowerPoint than in professional animation programs such as Adobe Flash due to the absence of key frames and tweening.
When effects such as Emphasis Grow/Shrink and Spin are applied to objects, they may appear to be jagged or pixilated when previewing in the slide show. In addition, excessive use of these effects may degrade the slide show’s performance. (PowerPoint’s built in Hardware Graphics Acceleration feature does help in minimizing these setbacks; however which requires a video card that supports Microsoft Direct3D.)
PowerPoint 2000 and later versions introduced macro security to help protect computers from malicious code within a PowerPoint presentation. This led to disabling all VBA or macro code by default, causing presentations containing codes unable to run properly. This complication can be easily fixed by adjusting the macro security settings to Low.[10] Security Warning in PowerPoint 2007 alerts the user of macros in a presentation as soon as it is opened, giving the option to run the presentation with or without the macros enabled.