Event Coverage

Global animation industry has long-term stake in India

Published

23 years ago

March 14, 2003

MUMBAI: “Animation is the greatest frontier of human expression! But, visual effects are merely one of the tools which beef up good story-telling and content. Finally, animation is all about human capital over technology – not the other way around”! These were some of the key views expressed during the session on animation at the seminar on technology for information, media and entertainment organised by FICCI, NASSCOM, TIE and e-Entertainment alliance held on 13 March 2003 on the pre-inaugural day of Frames 2003.

Moving Pictures CMD Ramesh Sharma moderated the session which had panelists such as Australia-based animation firm BEEPS executive Ian Maycock, Germany-based Daswerk’s Christian Leohardt, Toonz Animation’s Atul Rao, UTV Toons general manager Akhauri Sinha and UK-based Framestore CFC executive Mike Milne.

Most of the experts present at the seminar agreed that the global animation industry’s fascination with India wasn’t a fad but a long-term obsession. India has to explore various options and move up the chain from comics to C&S TV animation shows to Home Videos animation shows to animation films. Simultaneously, the key is to ensure that animation is used in education, infotainment and entertainment. Increased domestic consumption can fuel growth for the Indian animation industry. Also required is the government’s assistance in terms of tax benefits.

Moving Pictures company CMD Ramesh Sharma

* Animation is the fastest growing IT-enabled services segment and the size of the industry is expected to grow from US$ 550 million to US $ 15 billion in 2008 (Ernst & Young estimates). The industry is expected to grow at the rate of 30 per cent per annum in the next three years.

* India has got the following advantages: quality manpower, time zone advantage, cost-effective options, connectivity-related infrastructure and one of the biggest indigenous film industry in the region.

* Overseas companies are increasingly showing interest in forming joint ventures with Indian companies. This will be a win-win situation for both the partners and enable Indian companies to access the global markets.

Australia-based BEEPS’ Ian Maycock

* The best part about technology is that the geographical location of the offices doesn’t matter any more. Clients can be serviced from anywhere in the world.

* Technology has the capability to move millions of images and huge files across the globe in shorter time frames. Seamless results can be attained by the animation companies through associations and partnerships with other companies located in different parts of the globe.

* The new emerging segment is the genre of “visual effects” that are not meant to be seen.

Germany-based Daswerk’s Christian Leohardt

* People involved in animation should develop a Hollywood mentality/orientation in terms of thinking bigger and delivering faster. The key lies in impressing the Hollywood studios that animation experts in emerging Asian countries or European countries have the requisite expertise, acumen and equipment to deliver the same results as those in the developed animation markets.

* India and other Asian countries will need to compete with East European countries such as Hungary and Poland which are eating into the share of the developed animation markets of Europe.

Toonz Animation’s Atul Rao

* Animation is the greatest frontier of human expression. It can sell ideas and values using humour. In animation, the writer isn’t the only story-teller but the artist also gets involved and hogs the limelight. The artist puts a soul into the proceedings.

* The key is to ensure that “universal values” are reflected – jealousy, love, parental relationships, friendship amongst others.

* The challenge is “How can one culture narrate stories that relate to other cultures?” India has depth of culture and mythology and the key will be to leverage the same.

* The global animation industry’s new-found fascination with India is not merely a fad but a growing obsession.

* Animation is being increasingly used in areas such as medicine, engineering, education in addition to entertainment.

* The Indian industry can obtain additional revenue from merchandising opportunities.

UK-based Framestore CFC’s Mike Milne

* When the US-based Hallmark channel approached animation experts for a TV series with special effects, it set off a major trend a decade ago. Thus was born “Gullivers Travels” – the six hour TV series which became immensely popular.

* Some years later, a British TV producer wanted to do a series on dinosaurs for television. The challenge was to ensure the same quality as one sees in feature films. The animation and special effects had to look as if it was the real thing. The success of this TV series made for BBC spawned off a series of TV documentary films and series.

* Finally, in the new millennium, computer animation on television is being taken seriously. There is a huge future in doing documentaries using computer animation and another emerging trend is creating fantasy films for children and adults.

* The challenge is ensure that technology is leveraged effectively so that the Hollywood experts/clients don’t have to travel half-way round the globe. They can converse and discuss post-production issues with their Asian or European counterparts using broadband.

UTV Toons general manager Akhauri Sinha

* The key aspects of growing the animation industry are increased consumption, financing options, infrastructure, technology, human element, operations know-how, systems and process and enhanced domain knowledge.

* As far as Asia is concerned, Japan (US$ 1.5 billion) and Korea (US$ 1 billion) are right at the top; China, Taiwan and Hong Kong form the second rung; India and Philippines are slowly emerging and making their presence felt.

* The idea is to reach the level which France and Canada has attained. China, Japan and India are doing a lot of original animation work whereas most of the other Asian countries are struck with “services” part of animation. China, Japan and Korea are also catering to their home (inbound markets) in a big way and gaining substantial revenues. Korea has 20,000 animation experts as compared to India which has just 4000 qualified animation experts.

* Indian animation experts need to beef up their skills – expression, verbalisation, comprehension and interpretation of client demands. Asian Networks have started looking westwards to beef up their offshore presence (Sun Woo has opened offices in North America).

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Event Coverage

Anime India announces Amazon MX Player as co-presenting partner for Anime India Kolkata 2026

Published

1 month ago

January 28, 2026

indiantelevision.com Team

MUMBAI: Riding high on the success of its blockbuster Mumbai debut, Anime India is accelerating its nationwide expansion with the announcement of Amazon MX Player as the co-presenting partner for Anime India Kolkata. The partnership marks a significant step forward in the festival’s mission to deliver large-scale, accessible, and fan-first anime experiences across the country.

Scheduled for 14 and 15 February 2026 at the iconic Biswa Bangla Mela Prangan, Anime India Kolkata will launch the first regional chapter of what is set to be a year-long, multi-city tour. As the curtain-raiser for the 2026 circuit, the Kolkata edition aims to fuse the energy of global Japanese pop culture with India’s fast-growing community of anime, manga, and pop-culture fans.

A household name in digital entertainment, Amazon MX Player brings unmatched reach and cultural relevance to the Anime India platform. With its expanding focus on anime and youth-driven content, Amazon MX Player’s involvement as co-presenting partner reinforces Anime India’s vision of making anime culture more inclusive breaking barriers of language, geography, and accessibility to connect with fans nationwide.

*Glimpses of Anime India Mumbai edition*

Anime India Kolkata 2026 will showcase cosplay competitions, interactive zones led by the Indian Gunpla Community, India-39 Vocaloid Community, The Japan Curry, and Adda-o-Otaku by The Otaku Guild. Fans can join tournaments across fighting games, Pokémon VGC, and more. Acclaimed Japanese director Susumu Mitsunaka (Haikyu!!) will attend as guest of honour, appearing in panels and live sessions. Positioned as an immersive celebration of fan culture and industry collaboration, the Kolkata edition marks the beginning of Anime India’s nationwide expansion.

Sharing their perspective on the partnership, Amazon MX Player director Aruna Daryanani expressed, “Anime in India has evolved from a niche interest into a mainstream cultural movement, driven by an increasingly engaged and passionate fanbase. At Amazon MX Player, our focus is on expanding access by bringing anime to audiences across the country for free and in multiple local languages. Our association with Anime India reflects our commitment to supporting the growth of anime in India and deepening connections with fans, while continuing to build Amazon MX Player as a trusted destination for free, high-quality entertainment.”

“Anime India Kolkata is a celebration of how anime has grown beyond entertainment into a powerful cultural and creative force. By bringing fans, creators, and industry leaders onto one shared platform, the festival is helping define the future of pop culture in India,” said Anime India co-founder and director Neha Mehta.

The debut edition of Anime India 2025 in Mumbai attracted over 29,000 fans, quickly cementing its status as a landmark celebration of anime and Japanese pop culture. Riding on this overwhelming response, the Kolkata chapter is projected to draw more than 40,000 visitors across two days, positioning it as one of the biggest anime conventions ever held in eastern India.

Anime India is focused on bringing together fans from across the country to create a truly pan-India celebration of anime, manga, cosplay, gaming, and Japanese culture. With plans to expand into four key metropolitan hubs in 2026—east (Kolkata), north (Delhi), west (Mumbai), and south (Hyderabad)—the festival seeks to deliver globally benchmarked experiences while supporting and uplifting creators, artists, and fan communities throughout India.

Event Coverage

Transcend Goa Day 2 closes with a vision for cross‑border storytelling and shared narratives

Published

2 months ago

January 16, 2026

indiantelevision.com Team

Day two of Transcend Goa 2026 built on the momentum of the opening day and offered a deeper dive into the possibilities of transmedia storytelling and IP creation. Through a mix of panel discussions, and visionary presentations, the second day highlighted both the challenges and opportunities of building story worlds that thrived across platforms, leaving participants inspired by the breadth of ideas and collaborations that were showcased.

The second day began with the session Transmedia History of Japan Manga/Anime/Game IPs in the Partnership of East Asia. The session explored the evolution of Japanese manga, anime, and game IPs as transmedia ecosystems, shaped through long‑standing collaborations across East Asia. The speaker for the session was RE Entertainment CEO & president Atsuo Nakayama.

L to R: Ankur Pathak, Dhruv Jagasia, Tarana eddy and Caleb Franklin

The session ahead was titled A World Where Narratives are Currency. It explored how powerful narratives function as both creative and commercial currency, shaping brands, fandoms, and franchises in the global media landscape. Speakers included Big Bad Wolf founder Dhruv Jagasia, Matter Entertainment founder & CEO Caleb Franklin, Storiculture transmedia producer Tarana Reddy, with the discussion moderated by writer Ankur Pathak.

The next session post‑lunch was Building Mugafi into a Transmedia Giant. It took a deep dive into transforming Mugafi into a scalable, story‑driven ecosystem. The discussion explored how IP development, technology, and creator communities converge to build a transmedia platform that nurtures talent, expands narratives, and unlocks global opportunities. The speaker for this session was Mugafi founder Vipul Agrawal.

The session titled From Collectibles to Culture – Toys, Merchandising & Global Transmedia Value Chains focused on merchandising and consumer products. It examined how toys, collectibles, and licensing strategies can expand a story’s reach and create sustainable value chains across film, television, gaming, and more. Speakers included Weta head of consumer products Kim Faiga and Weta consumer products sales manager Jack Oolders, with the discussion moderated by Bulletproof Entertainment founder Harish Rao.

L to R: Sunder Aaron, Charuvi Agrawal, Manvendra Shukla and Milind Shinde

The last session for the day was titled The Next Wave of Global IP – Connecting India, Asia & the West. It spotlighted emerging intellectual properties that bridge continents and cultures, highlighting collaborative projects linking creators in India, Asia, and the West. By showcasing case studies on scaling IP across borders, the discussion underscored how co‑productions and shared narratives can reach audiences worldwide. Speakers included 88 Pictures founder & CEO Milind Shinde, CDL TV CEO Charuvi Agrawal, writer Binky Mendez, and Lakshya Digital CEO Manvendra Shukul, with the discussion moderated by Locomotive Global founder Sunder Aaron.

Transcend Goa 2026, concluded with closing remarks from Rao and representatives of the government of Goa, followed by a networking evening. The sessions across the event captured the spirit of collaboration and innovation, showcasing how transmedia storytelling and IP creation can transcend borders, formats, and industries. As the event drew to a close, participants left with renewed inspiration, strengthened connections, and a shared vision for the future of global media and entertainment.

Event Coverage

Transcend Goa 2026 Day 1 showcases India’s journey in storytelling, IP creation and transmedia content

Published

2 months ago

January 16, 2026

indiantelevision.com Team

Day One of Transcend Goa 2026 marked a significant step for India’s creative industries, as the inaugural transmedia conclave unfolded at the Marquinez Palace in Panjim on 15 January. The summit brought together leading voices from cinema, publishing, gaming, animation and emerging technologies to discuss how stories can move fluidly across formats and reach audiences in new ways.

Conceived as a platform to showcase India’s growing strength in original IP and cross‑media innovation, the conclave set out to highlight the country’s transition from service‑driven work to globally recognised creative leadership. With the support of the Government of Goa, the Entertainment Society of Goa (ESG) and Goa Future Proof curated the event to spark dialogue on the future of storytelling and its impact on culture and commerce.

L to R: Sanjay Ram, Shobha Sant, Veerendra Patil, Monisha Advani and Vijay Koshy

The day opened with an address by a Government of Goa representative and ESG chief executive officer Asvin Chandru. He said, “Goa has been envisioned as a future facing space where cinema, publishing, gaming, technology and artificial intelligence converge, reflecting the state’s ambition to emerge as a hub for creative, innovation and cultural exchange. Over the next two days, we hope this conclave inspires meaningful dialog, learning and collaboration across disciplines.”

Next, government of Goa chief secretary and planning secretary V Candavelou took the stage, setting the tone for the discussions ahead. He noted, “You all know that transmedia storytelling has undergone a transformational change. With the evolving of new technologies, this storytelling keeps on changing. The Transcend Goa summit is making this platform available to all the stakeholders to exhibit their talents. I hope that these two days spark meaningful conversation and ideas for the future.”

The event was graced by Goa’s chief minister Dr Pramod Sawant. “Transcend Goa is a simple idea to create a space where the culture meets technology, creates a space where the creativity connects with opportunity,” he said taking the stage. “The summit is also a pilot. It allows us to learn and understand how Goa can position itself as a large, creative and digital economy. Even small steps matter when we move in the right direction. If this discussion is of value to the creators’ businesses and the students, then these efforts will serve its purpose.”

He further said, “Goa always attracted the artist and thinkers. Today, it also has the students who code, design, animate, write and build the digital products. This summit gives them the exposure. This platform can open new doors and sparks new ideas. The government of Goa has extended support to Transcend Goa because we believe in the enabling of this platform. The Entertainment Society of Goa (ESG) has been entrusted and with the responsibility because it understands the culture landscape and has the capacity to execute such initiatives. We see the summit as a part of the larger efforts, our efforts to strengthen the Goa’s creative economy.”

The keynote was delivered by Creativeland Group chairman Sajan Raj Kurup, who underscored the importance of building narratives and transmedia content that resonate across platforms and markets.

The day opened with the session Beyond the Screen: Creating Stories that Travel, which examined how narratives moved across film, television, games, social media and immersive experiences. It considered strategies for designing stories that adapted and engaged audiences across formats. Speakers included Emmay Entertainment producer partner and CEO Monisha Advani, Zebu Animation co‑founder and creative director Veerendra Patil, TVF president Vijay Koshy and Creativeland Studios CEO Shobha Sant, with the discussion moderated by Mediasmiths founder Sanjay Ram.

The session The Evolution of India’s Media Ecosystem: Transitioning from Outsourcing to Transmedia IP Creation examined how India’s media sector moved from providing back‑end services to developing original intellectual property that attracted global investment. Speakers included Punnaryug Artvision founder Ashish Kulkarni, Brhat founder Raghav Krishna, with the discussion moderated by Bulletproof Entertainment founder Harish Rao.

Post lunch, the session India’s Original IP Powerhouse: The Raj/Alpha Comics Story presented a case study on how publishers such as Raj Comics and Alpha Comics developed Indian superhero stories into transmedia properties. Speakers included Raj Comics founder Sanjay Gupta, Raj Comics and Alpha Comics founder Vasu Gupta, with the discussion moderated by Animation Xpress India director Mishaal Wanvari.

The session The Art of Creating Multiplatform Narratives explored the craft of building cohesive story worlds that unfolded across film, television, games, social media and other formats. It considered approaches to creative planning, audience engagement and maintaining narrative consistency while using the strengths of each medium. Speakers included filmmaker Raja Krishna Menon, filmmaker Reema Maya and filmmaker Q, with the discussion moderated by Mediasmiths founder Ram.

Harish Rao (left) felicitating Vignesh Raja

The session AR Rahman’s Secret Mountain: Building a Transmedia Music Universe introduced the composer’s latest project, Secret Mountain. It highlighted India’s first Meta Band and explored its potential across music, digital platforms and immersive experiences. The presenter for this session was Secret Mountain cofounder Vignesh Raja.

The last session of the day, Animating Success: Green Gold Entertainment’s Journey, highlighted Green Gold Entertainment founder Rajiv Chilaka and his team’s work in building one of India’s leading original animation studios. It traced how Green Gold Entertainment created hit franchises such as Chhota Bheem, developed a merchandise and licensing strategy, and showed that Indian stories could find global resonance. The session featured Chilaka in conversation with Bulletproof Entertainment founder Harish Rao.

The day concluded with a lively networking evening, leaving participants energised and looking forward to the sessions on the second day.