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Tag: animation

  • WOLF BREAD launches animation studio in Mumbai

    WOLF BREAD launches animation studio in Mumbai

    Mumbai: WOLF BREAD, a multimedia company bringing global pop culture experiences to India, has launched its much-awaited WOLF BREAD Animation Studio. Situated in Mumbai, this exclusive animation studio is poised to transform the landscape of animation production with its commitment to offering accessibility and affordability.

    Following its involvement in animation and CGI for music videos, WOLF BREAD recognized the immense potential and growing demand for high-quality animation services. What began as an endeavor to introduce a fresh aesthetic to its music video campaigns has now evolved into a full-fledged animation studio.  Driven by a mission to change the game, WOLF BREAD Animation Studios aims to make top-notch animation accessible to all without burning a hole in one’s pocket.

    WOLF BREAD Animation Studio founder Taufiq Khan said, “With WOLF BREAD, we are on a mission to build a community, we don’t want to keep ourselves limited to making money. We want to work with studios and brands who share our vision. In the next 5-10 years, we want to realize our dream of making full-blown animation films. Think Disney or Pixar level!  We’re in it for the long haul. We’re here to shake things up and make quality animation accessible to everyone.”

  • Media & entertainment sector struggles with vice-like grip of layoffs

    Media & entertainment sector struggles with vice-like grip of layoffs

    Mumbai: Two months into 2024, and the bloodletting in the corporate world continues. A large media and entertainment conglomerate – which failed in its strategic partnership – is believed to be lopping off more than 10 per cent of its work orce in India and overseas. It has already laid off around five to six per cent and more job losses are around the corner.

    Another large broadcaster – which is a leader in its genre – has issued pink slips to again about 10 per cent of its staff.

    An international news broadcaster that had a run-in with the Indian government has bid ta-ta to the heads of its distribution and ad sales team. Indian news channels too have stricken off the names on their attendance rosters, as they struggle to gain profitability.

    “More companies are likely to follow suit as advertisers realign their spends around live sport – especially cricket, both women’s and men’s,” says a media observer. “But all the major players in live sport seem to be finding it tough with advertisers squeezing them for extra inventory, resulting in yields per spot becoming much lower than last year.”

    With poaching becoming rampant between broadcasters, more often than not, departees are not being replaced, leaving positions vacant, asking those who stay to double up their jobs for those being asked to go.

    The national elections seem to be the only other saving grace for the limping media and entertainment sector – especially news channels.” It is going to be a bonanza,” said a news channel CEO. “But what about after elections, it’s back to the slowdown again?” he questions.

    Production houses too have seen the writing on the wall, and have trimmed their rosters. Pointed out a media analyst: “TV and OTT shows budgets have shrunk and those that don’t work are not getting renewals for another season or are being put to the sword. Production houses work with a lot of freelancers – on creative, production, etc – who are hired for projects. Only core creative and production teams are retained. However, some of them have taken proactive steps and have laid off even the core teams and are focusing on show development.”  

    What’s also dragging down the media and entertainment sector, is the impact that the US writers and actors strike has had on India’s earlier buzzing with activity VFX and animation space. The six month halt has  sent the Indian animation and VFX sector into a tumble with projects being delayed and work slowing down. Most studios – in India and overseas – have streamlined their operations, laying off close to 15,000 professionals over the past few months.

    “Jobs are tough to come by,” said the CEO of an international job-reliant studio. “We hope to see some green shoots later this year and more work come our way. Until then, it is belt-tightening time.”

    Observers say the sector has not seen the last of the headcount cutting. More bloodshed is on the way.

    On the other hand, the layoffs are spurring professionals to start up new ventures – either individually or by roping in like-minded talent to do so. Yes, venture capitalists and private equity firms are not freely disbursing investments to all and sundry in the start up but those that are getting financing are putting their heads to the plough to make their initiatives successful.

  • Karnataka Government and ABAI drives Bengaluru GAFX augmented intelligence for AVGC Power

    Karnataka Government and ABAI drives Bengaluru GAFX augmented intelligence for AVGC Power

    Mumbai: Flagship event in Animation, Visual Effects, Gaming & Comics (AVGC) sector by Karnataka’s Ministry of ITBT and ABAI.

    Bengaluru GAFX is all set to be held in the city from 29 – 31 January 2024 at the Lalit Ashok, Bengaluru.

    Bengaluru GAFX focused on augmented intelligence to unite the AVGC industry for knowledge exchange. The event brings together industry, academia, and government to discuss trends, challenges, and the future of Animation, Visual Effects, Games, and Comics. It aims to strengthen Karnataka’s leadership in fostering holistic growth and development of AVGC in India.

    Govt. of Karnataka Minister for Electronics, Information Technology & Biotechnology and Rural Development & Panchayat Raj Priyank Kharge expressed “As pioneers in the formulation of India’s 1st AVGC policy and initiative, Karnataka continues its leadership in this rapidly growing sector and has been the home to the world leaders in the AVGC space having left an indelible trail of success and awards on the world stage. It is our vision that Karnataka becomes the skilling epicentre for the global AVGC community as we provide a career pathway through the establishment of more incubators and accelerators in this sector. Bengaluru GAFX is a key convention for us to propagate our plans and schemes to promote our ever-expanding vision in this sector.”

    The Technicolor India ABAI president & country dead Biren Ghose said: “The sessions at Bengaluru GAFX 2024 shall celebrate the enormous successes of the past year and identify new vistas of growth and opportunity for the holistic growth & development of AVGC in India. Packed with multiple conference tracks, masterclasses, student competitions, an e-Sports competition arena, B2B networking sessions, an exhibition track and much more, Bengaluru GAFX is a must-attend event for anyone involved with imagery, animation and simulation and with the new tech in the audio-visual space has applications in several new areas. Above all, ABAI members have helped build an ecosystem taking India’s prowess in storytelling and entertainment to become a recognized “soft power” from India to the world”.

    In the decade-plus of Bengaluru GAFX, several global giants including Walt Disney Animation, Nickelodeon, Paramount, DreamWorks Animation, Netflix, Rockstar Games, Electronic Arts, Ubisoft and many others have chosen Bangalore as their production and programming hub for their creative technology activities. The city has become home to the best talent in the country and has made significant contributions to bring an increasing global work share in the creation of games, movies, and episodic content for these media & entertainment majors among many others.

    The event’s past editions have left an indelible impact on the industry, drawing over 4,500 attendees and 120 companies, and featuring a spectrum of activities from live conferences to student competitions. With the participation of 40 colleges, the event featured 18 live conferences, 45-panel speakers, 10 virtual sessions, and 30 virtual speakers across the world, with renowned speakers from Epic Games, MPC, Gamitronics, Hombale Groups, The Mill, Technicolor Games, Rockstar Games, Electronic Arts, Netsport Media and many more.

    As Bengaluru GAFX gears up for its latest edition, it aligns strategically with the launch of the Karnataka Animation, Visual Effects, Gaming, Comics, and Extended Reality (AVGC-XR) Policy 3.0 (2023-28). Karnataka, renowned as India’s IT hub, is a dominant force in the AVGC-XR sector, commanding a robust 20% share of the Indian Media & Entertainment industry. The state boasts over 300 specialized AVGC studios and a workforce exceeding 15,000, providing a solid foundation for industry growth. Education is pivotal, with Karnataka housing 5 animation institutes, 3 visual effects institutes, and 12 gaming-focused institutes. Initiatives like Digital Art Centers in 27 colleges and an AVGC Finishing School further bolster the state’s commitment to nurturing talent.

    This visionary policy endeavours to position Karnataka as a global innovation leader in AVGC-XR technologies, create a robust talent pool, generate 30,000 jobs, and foster sustainability within the AVGC industry. The policy’s strategic pillars, spanning skill development to global market access, resonate with the core discussions expected at Bengaluru GAFX, making the event pivotal for shaping the future of AVGC in Karnataka and beyond.

    This edition of Bengaluru GAFX will witness a stellar lineup of speakers comprising industry veterans and thought leaders- including the winners of multiple Oscars, British Arrows, VES Awards, Cannes Golds and prestigious Indian awards. 

  • Pogo’s spectacular showdown: Little Singham vs. Chhota Bheem

    Pogo’s spectacular showdown: Little Singham vs. Chhota Bheem

    Mumbai: It is the year-end, and the world of animation is ready for a never-seen-before face-off! Brace yourselves as POGO, a kids’ entertainment channel, redefines the norms of heroism with the ultimate clash of its Supercop, Little Singham and Superhero, Chhota Bheem.

    In a move that has left fans awestruck, Chhota Bheem is now wanted and seen behind bars, sparking curiosity with a question on everyone’s mind? Has Little Singham arrested him? This extraordinary twist is set to take the animation universe by storm, presenting an unusual crossover event that will keep audiences on the edge of their seats.

    Why would Little Singham take such an unexpected action against the legendary Chhota Bheem? All answers will be revealed in an epic must-watch event of 2023. The incredible crossover promises to surprise, entertain, and captivate audiences of all ages. Stay tuned to POGO for further updates and exclusive insights into this unexpected clash between two iconic animated heroes.

     

  • GUEST ARTICLE: New trends in the video production market 2022

    GUEST ARTICLE: New trends in the video production market 2022

    Mumbai: There is no doubt that video marketing is the most engaging medium to connect with consumers and is also enthusiastically embraced by the masses.

    A recent report indicates that YouTube has experienced a 20–30 per cent increase in views, and social media videos have reached an all-time high, with 56 per cent of consumers watching more videos each month on social media platforms. While video production is gaining momentum, the focus is not limited to humorous skits or influencers. Rather, there are several companies dedicated to creating videos that deliver value to their customers. 

    In a recent study, four out of ten internet users follow brands that interest them (and are considering purchasing from). Also, 35 per cent of YouTube views are attributed to brand-owned videos, and 70 per cent of e-commerce brands have increased their advertising budgets for videos.

    Looking closely, we have found the following trends in marketing video production that are expected to continue into 2022 and beyond. 

    ●     Short-form video

    The short-form video has gained traction across almost all content platforms, including Instagram Reels, Snapchat, and YouTube Shorts. There is a likelihood that this trend will continue, with videos becoming “snackable,” which means they can be consumed between other forms of content in a short attention span.

    When it comes to what needs to be served to the consumers, a marketer needs to be able to achieve more within a shorter period of time. In most cases, you will have less than 30 seconds to catch your audience’s attention and explain your point. Fortunately, video allows you to achieve this. Visuals, audio, and text can be combined effectively to communicate a shorter message. 

    Let’s take a look at a few best practices for short-form video production:

    ●     The first few seconds matter – Gain their attention right away to prevent them from swiping or clicking away.

    ●     Don’t forget mobile – As over 75 per cent of video content is viewed on mobile devices, it is essential to use mobile-friendly links and vertical formats for viewing. With the latest video technology, it is even possible to create videos that adjust based on the device used by the viewer.

    ●     Posts affect where it goes – Keeping in mind that different websites and apps have differing content styles that work best and often have different audiences when making videos is essential.

    ●     Animated Explainer Videos

    Animation explainer videos enable you to capture your audience’s attention while maintaining it throughout the video. The most appealing aspect of animated explainer videos is that they showcase your brand’s personality in an enriching and informative manner.

    Many companies worldwide continue to use animated videos to promote their products and services. Animated videos are also used for various purposes, such as educating customers, training new employees, and many others.

    Moreover, since more and more people are viewing videos on their mobile devices, creating videos that are optimised for smaller screens is paramount. Forecasts indicate that animated explainer videos will become more popular as a form of video marketing by 2022.

    ●     Shoppable social media videos

    A shoppable and interactive video marketing strategy will dominate the video marketing segment in 2022. A viewer can be a part of the story or message by participating in the video. You may receive a different result if you click on the other objects that are projected on the screen.

    There may also be questions or choices you must make that have an impact on the video’s plot. Over the years, shoppable videos have also evolved. In 2022, shopping videos will significantly increase the interaction level among their customers. As a result, shoppers will have an easier time, and conversions will increase dramatically.

    Shopping can be performed directly from the video, hence there is no need to leave the site. This trend is unmatched in popularity.

    ●     Webinars and live streams

    A live stream or live webinar has become an increasingly popular way of sharing content in the past few years. It is a great way to increase brand awareness and traffic to your website, and it allows your followers to interact directly with you.

    Combining this approach with the podcast offers you the opportunity to leverage multiple channels for marketing purposes. Apart from this, businesses and content creators can use live webinars to generate leads and sell products.

    If you plan on conducting live webinars, you should invest in a good-quality microphone.

    ●     Vertical videos 

    If you scroll through social media feeds, you will notice that most videos are vertical in nature. The orientation of a vertically oriented video differs from that of a horizontally oriented landscape video.

    In 2017, Snapchat and Instagram began supporting these videos, and their popularity has continued to increase with TikTok. In vertical videos, the viewer may see more of the subject’s face than in horizontal videos. Moreover, they may feel closer to the matter as the camera is closer to their faces.

    This eventually makes it ideal for sharing on social media platforms, where users scroll through their feeds and wish to view quick, engaging videos. However, this video style is likely to remain popular for the foreseeable future.

    ●     User-generated content

    There is no doubt that marketing strategies rely heavily on user-generated content, and video content is no exception. User-generated content is one of the top trends in video marketing for 2022, and YouTube’s ability to attract and retain users indicates its effectiveness.

    According to studies, user-generated video content receives ten times as many views as branded content. The good news doesn’t stop there: once users land on a site via UGC, they spend twice as much time as they used to on the previous content. It is also well known that user-generated video can convert users into customers at a rate almost double that of static content.

    Video UGC also increases the likelihood that these users visit an e-commerce site and make a purchase by 184 per cent, and makes sure that these users spend 45 per cent more on the e-commerce website. This approach is particularly effective in industries that heavily rely on user opinions, such as travel and health.

    Even if your company does not operate within these industries, video content generated by users is a practical part of your video marketing strategy for 2022. 
    Final Thoughts

    It is undeniable that the trend of using video content in marketing has continued over the past decade. To succeed in digital marketing, you must have a detailed understanding of video marketing trends. No matter if you are a professional videographer or not, you should be familiar with the use of video content in marketing and design. You will see incredible results if you incorporate it into your online marketing strategy. Take advantage of all the trends and statistics related to video marketing on our website. This would aid your marketing campaigns and social media efforts to ensure that your prospects remain engaged with your content.

    The author of this article is GPPL co-founder and managing partner Anjali Chauhan.

  • Tourism Australia’s new ad campaign invites India, the world to come and say G’day

    Tourism Australia’s new ad campaign invites India, the world to come and say G’day

    Mumbai: With the Twenty20 World Cup currently taking place in Australia, the eyes of cricket fans in India are down under. Looking to capitalise on this momentum, Tourism Australia has created a live-action short film with CGI animated characters. The short film, G’day, is part of a new global tourism campaign inviting international travellers, including those in India, to come and say G’day, and plan and book an Australian adventure of their own. Directed by Australian director Michael Gracey (The Greatest Showman) and produced by Finch, G’day, the short film shows the unlikely adventure of a plush souvenir kangaroo named Ruby, voiced by Australian actor Rose Byrne, and a toy unicorn, Louie, voiced by actor Will Arnett.

    The short film follows Ruby and Louie as they ‘break out’ of a gift shop on the Great Barrier Reef and take an incredible adventure around Australia, visiting iconic sites including Sydney Harbour, Melbourne’s laneways, and stunning natural landscapes like Uluṟu and Nitmiluk Gorge. Along the way, they explore the magnitude of travel experiences Australia has to offer, connect with Australia’s Indigenous cultures, and learn why every great adventure starts with the unmistakably Aussie greeting, “G’day!”

    The campaign can be seen on YouTube, Meta’s properties Facebook and Instagram, and on other programmatic video platforms. The goal is to target high-yield travellers.  On 9 November, the campaign will launch on the OTT platform Disney+Hotstar for a one-month period. This deal could be extended. OOH and in-cinema advertising will also be used. Billboards across Mumbai, Delhi, and Bengaluru are being used. Print is also being used. For now, television is not being used.

    The campaign video is the first iteration of a campaign that will run for three years. In terms of marketing, 10 influencers from India have been taken down. They will see the India versus Pakistan clash on Sunday at the MCG and will partake in a variety of activities. They will create content around it for their followers to consume and promote Melbourne and Australia as a destination. Tourism Australia has also taken 20 travel agents to the country for the T20 World Cup. On the ground, there will be Ruby On Tour roadshows across seven cities in India next month and in December.

    The campaign video will be edited into nine minutes, one minute thirty seconds, and fifteen seconds. In some markets, like Japan, the campaign is being fine tuned through the use of local talent. Tourism Australia added that visitor arrivals from India have reached 86 per cent of pre-covid in the April-August 2022 period compared to the same period in 2019. The aim is to go to 100 per cent in the coming few months. Earlier, Tourism Australia had set a target of 18,000–20,000 visitor arrivals from the country to see the T20 World Cup. While the International Cricket Council (ICC) will officially reveal visitor figures at a later date, Tourism Australia is confident that its target will be achieved. The marketing programme is pretty robust, it added.

    In fact, visa processing is still going on for Indians who want to travel to see Sunday’s clash between archrivals India and Pakistan. In the long run, the goal is for one million Indians to visit Australia each year by 2030. For that to happen, direct aviation capacity will have to rise fourfold at least. In 2019, the number was 4,00,000. Moreover, since Australia re-opened its borders and commercial flights restarted, India has been the number two market. Earlier, it was number seven. Australia’s neighbouring country, New Zealand, is the number one market. Singapore, the UK, and the US round out the top five markets. China was earlier number one in terms of visitors to Australia, but it has been badly affected by the pandemic.

    Tourism Australia MD Phillipa Harrison said, “Come and Say G’day is unashamedly and unmistakably Australian. After a challenging time around the world, our uplifting and joyful campaign will stand out in what is a highly competitive international tourism market.”

    The campaign activity will be further amplified by partnership activity with airlines, state tourism organisations, and key distribution partners, including Thomas Cook, SOTC, PickYourTrail, and Kesari Tours, among others.

    G’day, Indigenous cultures and peoples are at the heart of the story, and their warmth can be felt throughout, explains tourism in Australia. The musical score, written by Australian composers Jonathan Dreyfus and Amy Andersen, features Indigenous Australian musicians including William Barton, Frank Yamma, the Marliya Gondwana Indigenous Girls Choir, and the Iwiri Choir. Notably, the film features a fresh new cover of the classic Aussie song Down Under, which was produced in collaboration with Men At Work’s Colin Hay for the campaign and film.

    Harrison concluded, “Another hero of the campaign is the remake of the Australian classic song Down Under by up-and-coming Australian band King Stingray, who sing in both English and Yolŋu Matha, an Indigenous language from northeast Arnhem Land in the Northern Territory.”

    Tourism Australia regional GM South, South East Asia Brent Anderson said, “ The campaign is a genuine, warm Aussie welcome. It is about how the world sees us. What is appealing about us? We did a huge amount of research during COVID. Ruby is an absolute icon that cannot be used by any other country in the world. She comes through really quickly in the advertising. India, among other South and Southeast Asian (SSEA) markets have been critical in Australia’s recovery and I’m really excited to reveal our new campaign to inspire even more Indian travellers to explore Australia. Through Ruby and Louie’s adventures, we are inviting travellers to Come and Say G’day – where they can build new authentic connections with friendly Australian locals and communities, our incredible nature, wildlife, islands and beaches, and enjoy our delicious food and drink. We are ready and can’t wait to welcome back our valued travellers from India. We are excited to announce that we have Qantas as our major airline partner across multiple markets, including here in India. You might see Ruby hopping on a Qantas plane in the near future.”

    With issues like stagflation, inflation, the Russia-Ukraine crisis, and interest rates going through the roof, the world is a bit messed up. The world is a strange place. It needs a bit of laughter, lightness, beautiful scenery, and wide open spaces. That is the result of research conducted. Tourism Australia, he explained, studied what people look for in a vacation. Therefore, in the campaign, one sees things like wide open spaces. He said the campaign also focuses on the indigeneous experience. He added that the reason why India is the fastest growing market for Tourism Australia is that the Indian team pushes hard. There is also healthy competition from the Singapore team.

    He also noted that the department of home affairs’ personalised and streamlined visa services offered for corporate incentive travel and the ICC’s official travel and hospitality agents will ensure sustained growth when it comes to MICE arrivals as well as for the on-going T20 World Cup. There has also been a tripling of direct aviation capacity. Besides India the other markets that Tourism Australia invests money in include Singapore, Malaysia, Indonesia, Japan, South Korea, Hong Kong, Germany, France, Italy, the UK, the US and New Zealand.

  • Dandelooo grabs worldwide distribution rights for ‘Our Piggy’

    Dandelooo grabs worldwide distribution rights for ‘Our Piggy’

    Mumbai: Emmy Award-winning French animation production and distribution company Dandelooo has struck a deal with the Emmy Award-winning Czech film and television production company Bionaut for the new adorable comedy series Our Piggy.

    The deal gives Dandelooo exclusive worldwide distribution rights to the 2D animated series targeted at 2–4-year-olds produced by Bionaut, the producers of the highly successful Hungry Bear Tales series.

    Created and based on the book by Jaromir Plachy, nominated for the Golden Pinwheel, Young Illustrators Competition Award 2021, Our Piggy discovers the magic of ordinary objects and invites children into his extraordinary world through inquisitiveness and play.

    Commenting on the deal, Dandelooo co-founder Emmanuèle Pétry Sirvin said, “This new series is based on the director’s observation of his own child, which explains the charm of this delightful character. I fell in love immediately with this series, which illustrates the well-known quote ‘keep it simple.’ Bionaut is one of the most talented studios in Central Europe and we are proud to distribute their programmes internationally.”

    Dandelooo is a French award-winning creative company based in Paris dedicated to the development, production, and distribution of original and ambitious animated programs. It runs its own studio, Ooolala, in la Cartoucherie (Valence, France) and has a sales office in Barcelona, Spain, and Milan, Italy.

  • Proposed 28% GST on online gaming could lead to decline in active users: ASSOCHAM & EY Report

    Proposed 28% GST on online gaming could lead to decline in active users: ASSOCHAM & EY Report

    MUMBAI: According to a joint report by Assocham and EY, titled ‘GST on Online Skill-Based Gaming’, GST Council’s Group of Ministers (GoMs) are examining the GST on online gaming. One of the considerations by GoM is recommending a levy of 28 percent Goods and Services Tax (GST) on the complete contest entry amount including the prize pool, which can have an adverse effect on the industry. Levy of GST on the contest entry amount would increase the tax burden on the nascent industry by 10 to 20 times. The industry currently pays GST at the rate of 18 percent on the platform fee or the Gross Gaming Revenue (GGR) earned directly by the gaming operators.

    The report estimates that the industry contributes more than Rs 2,200 crore of GST in 2022 and the winnings from online games are subject to income tax, which also contribute a significant amount to the exchequer.

    The report has also listed out the unique features that set online skill-based gaming apart from games of chance. It entails technology solutions that are provided by operators to enable user-interface as well as build a gaming ecosystem and act as facilitators. The fee charged is a fixed consideration and is not dependent on outcome. Its success is also dependent on the superior knowledge of the user and engagement with the game, making skill the predominant element.

    The report notes that the proposed levy of tax at 28 percent from 18 percent, along with 30 percent income tax on winnings, takes the rate of taxation on online gaming between 45-50 percent. With the GST tax proposal leading to higher taxation, it could lead to a decline in active users and discourage domestic gaming industries.

    According to recent industry estimates, there are 500 gaming companies in the country, which have provided employment to thousands of people and have also seen an inflow of Foreign Direct Investment (FDI) worth $2.7 billion. However, they are likely to be impacted by high taxations and would open doors for offshore operators. The report states: “This sector could also help in facilitating the government’s vision for the Animation, Visual Effects, Gaming and Comic (AVGC) sector and encourage the domestic players rather than driving users to foreign companies/ offshore platforms; thereby enhancing government’s revenue collection.”

    Assocham secretary general Deepak Sood said, “The Assocham-EY report on the impact of GST on online skill-based gaming is quite revelatory. The growth of the online gaming industry comes as no surprise as it’s largely youth-driven and has been fuelled by the increasing usage of internet and smartphones, especially during the pandemic. India is expected to become one of the world’s leading markets in the gaming industry, which also bodes well in terms of a robust digital economy GDP as well as an employment-generator. Therefore, any step that the government takes to strengthen the sector through an optimal tax structure is welcome.”

    The report asserts that the right tax structure can have a positive impact on the industry and drive tax revenues. “The crystallisation of the GST valuation mechanism could be a catalyst in enabling ease of doing business and spur growth of this rising sector,” it concludes.

  • Sony Yay! launches Japanese anime series ‘Naruto’ on 15 August

    Sony Yay! launches Japanese anime series ‘Naruto’ on 15 August

    Mumbai: Sony’s kids channel Sony Yay! has announced the launch of the Japanese anime series Naruto on 15 August. It will air Monday through Friday at 8 p.m. With the first ever launch of Naruto in five languages, the channel aims to bring anime fans across all age groups closer to their favourite ‘Ninja’. This new addition leads to a significant expansion of the channel’s exhaustive and ever-growing toonverse.

    The show celebrates a style of Japanese anime and is based on a series of Masashi Kishimoto’s manga. The series will showcase a young boy’s resilience and undaunted quest to become the most powerful leader of his village.

    Sony Pictures Networks India, Kids’ Genre! business head Leena Lele Dutta said, “The popularity of anime is growing immensely in India. Our endeavour with Naruto is to take this popular series and add a multilingual offering that will help satiate the demand for anime lovers as well as increase its footprint through localization. With Naruto, Sony Yay! will cater to a larger audience of kids and young adults and further strengthen its leadership position.”

  • GUEST COLUMN: How can animation brands utilise communication tools to stay ahead

    GUEST COLUMN: How can animation brands utilise communication tools to stay ahead

    Mumbai: Animation brands have seen a considerable increase in the last three years. Animation is booming as a result of technological advancements and improved internet access. Through amusement and ingenuity, animated films and cartoons capture the interest of children of all ages. Animation is not only a terrific way to tell a story and interact with an audience, but it is also full of unlimited possibilities. People of all ages prefer animation since OTT sites such as Netflix, Disney+ Hotstar, and Amazon Prime Video cater to adults with animated material. People want to make a career in animation by mastering VFX and 3D animation and building a name for themselves. The Indian animation industry is expected to reach Rs 180 billion by 2024, with a 29 per cent annual growth rate. Animated content appeals to a wide range of age groups. Because of the shift in purchasing patterns, the industry has grown at an exponential rate. The Confederation of Indian Industries (CII) and the Boston Consulting Group (BCG) undertook a study of the Indian visual effects and animation business. It is predicted that this industry may potentially take 20–30 per cent of the global AVGC market. It currently accounts for only 10 per cent of the market. This has boosted competition in the animation sector, and brands are seeking new ways to reach a wider audience.

    The goal of public relations (PR) in animation brands is to raise brand recognition in order to pique the audience’s interest and establish thought leadership in the industry. Public relations firms are branding and communication specialists who understand how to make brands newsworthy and relevant to today’s audiences. They also provide crisis management planning and response services to help brands ensure that their message is not lost in translation. Animation Brands can employ tried-and-true public relations (PR) tactics and activities to foster positive attitudes and behaviours about their company, which will help convert interested consumers into customers. Public relations tactics are very cost-effective and often allow brands more control than more broadly targeted advertising efforts. Consider using these public relations tools to help a brand’s reputation.

    To keep them ahead, PR can benefit the animation industry in the following ways:

    Builds brand awareness

    Public relations (PR) are great for maintaining an image that will increase your audience reach. To keep ahead of the competition, animation brands can employ public relations strategies to raise brand awareness and assist them in gaining recognition. Any company or brand. They have the ability to use public relations tactics to effectively build an image and brand recognition. Public relations will help to increase brand awareness, reach, and consumer loyalty.

    Educating about brand/industry

    The animation industry is still relatively unknown, and many people believe it is primarily concerned with cartoons. However, with the advancement of technology and the internet, people are increasingly favouring animation. To keep the momentum rolling, public relations must invest in public relations. Public relations tools like blogs, newsletters, news feeds, social media posts, podcasts, and interviews can assist in educating the public about the animated film. Through public relations, brands may also inform people about how to create a career in animation and educate those who are interested in the profession.

    Better exposure and engagement

    Brand positioning and visibility can be achieved through public relations. The massive market makes it all possible; yet, one must comprehend the method for engaging the audience. Brands may use public relations to design campaigns that enhance engagement and awareness. PR techniques like press releases, social media platforms, and SEO can assist animation brands in reaching their target audience, resulting in increased brand exposure and engagement.

    Permanence

    Animation brands require longevity because they want to reach a broader audience and make their brand popular. Effective public relations techniques allow them to target their audience based on their target group’s interests, increasing their reach. Public relations can help animation brands achieve long-term success by establishing thought leadership in the industry.

    To summarise, animation brands can utilise public relations in a variety of ways to achieve their objectives. It will aid in increasing exposure, awareness, and persistence with the previously mentioned variables. If you want to generate interest in your business, you must increase spending in a profitable and friendly way.

    The author is Scenic Communication co-founder Anindita Gupta.