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Tag: UTV Toons

  • West Bengal to spruce up animation biz

    West Bengal to spruce up animation biz

    MUMBAI: Seems like animation is the industry of future. Joining the animation bandwagon is West Bengal. The state that has been thus far striving to project itself as a preferred destination for IT firms is now eyeing animation.

    The industry hopes to establish the animation business by capitalising on its pool of low-cost skilled professionals.

    In a bid to turn itself into a hub for outsourcing animation projects by local as well as overseas companies, the state government will be setting up a state-of-the-art animation academy as the first of a series of measures.

    “Animation is certainly going to be a focus area for us in the coming years. We believe we have all the requirements to emerge as the animation outsourcing hub,” said West Bengal IT minister Manabendra Mukherjee.

    “We already have a huge base of creative professionals and now many technology companies are setting up their centres in the state,” Mukherjee, in the Indian capital to take part in an IT industry seminar, told IANS.

    “I think we will be in an ideal position to offer animation services to companies all across the world if we merge the creativity aspect with the advancements in the field of IT. The animation academy is just a first step towards this.”

    The West Bengal Electronics Industry Development Corporation Ltd (WEBEL), the government-owned nodal IT and electronics industry body, has tied up with the Kerala-based production house Toonz Animation India to set up the academy.

    Likely to be unveiled in May, the academy, the first of its kind in the state, is being set up with an investment of Rs 10 million, said Mukherjee, adding all financial requirements would be met by the state government.

    “We have tied up with Toonz Animation for academic requirements. They will help in framing the course curriculum and recruiting international faculty members comprising veterans from the animation industry,” he said.

    Mukherjee said “Toonz will also use its industry linkages for placing students with animation studios in India and overseas. The academy will offer a one-year diploma and a six-month certificate course to around 100 students in the first year.”

    Set up with an investment of $7 million in 1999, Toonz Animation has emerged as one of the leading players in the nascent Indian animation market.

    Besides focusing on developing its own cartoon animation, skits, serials and full-length feature films for the export market, Toonz also has a co-production deal with Britain-based Tree House Production for a fun animation series.

    The proposed academy is coming up at a time when India is emerging as a potential player in animation software supply, with the convergence of talent and low production costs.

    According to an animation industry study report, Indian animation production costs are the lowest, as compared to production rates in the US, Canada, South Korea and the Philippines – the major global centres for animation production.

    While the rates for production of a half-hour television animation programme would be around $250,000-400,000 in the US and Canada, it is in the region of $60,000 in India, the report says.

    The total animation production by Indian companies is expected to rise from $600 million in 2001 to $1.5 billion by 2005, while the total global animation production would touch $51.7 billion.

    The animation market in India today is characterised by the presence of multiple players including Crest Communications, UTV Toons, Pentamedia Graphics, Padmalaya Telefilms, Moving Pictures and Toonz Animation.

    The animation studios are catering to the requirements of segments such as feature films, television programmes, advertisements and computer games.

    “We expect the success of the animation academy will on its own draw a large number of Indian and overseas animation production houses to West Bengal and enthuse them to step up their development centres in the state,” said Mukherjee.

    The communist-ruled state, long seen as an industrialist’s bane with labour unrest and poor infrastructure, plans to go all out to roll out a red carpet to animation firms by harping on its competitive advantages.

  • “We have to create awareness of the quality work being done in India”: Alice Manuel Escotoonz head

    “We have to create awareness of the quality work being done in India”: Alice Manuel Escotoonz head

    She has been in India for only five years, but is already a key person in the Indian animation industry. Alice Manuel, who joined UTV Toons in 1998, is currently head of production in the fast emerging Faridabad-based Escotoonz.

    The studio, which has 195 artists working on various projects today, recently finished its first international project King. Co-produced along with Ottawa-based Funbag Animation Studio and Toronto’s Decode Entertainment, the 13-episode, 22-minute series was premiered on the Family Channel in Canada recently.

    Now Escotoonz is working on two more international projects including assignments from the US and European studios.

    Indiantelevision.com’s Ritesh Gupta got in touch with Manuel on Escotoonz’s operations. Excerpts:

    When did Escotoonz commence its operations and how many artists are working with you now?
    Escotoonz formally commenced its operations in July 2001. Initially, we had a team of only 30 artists. The first year of operations was basically about training our own team and setting up our processes. We also worked with advertising agencies and television channels for local content.

    In December 2001, we bagged our first contract – the animation series King, co-produced by Escotoonz, Funbag and Decode. We worked on this project from July 2002 to April this year. In the past two years, we have also strengthened our operations by expanding our team strength to 195 members.

    What is the core competency of Escotoonz?
    At Escotoonz animation studio, a majority of business comes from 2D animation. But we have done some pilot project for a UK company in 3D and flash, as well. The client is happy with our effort and if we get to work on the contract, then we will strengthen our operations in this arena too.

    What kind of organisational structure does Escotoonz follow?
    It’s a mix of fixed and variable or contractual model. For instance, if we have an employee on a 12-month contract, we let him work on a new project after the previous one is finished. In that case, we just extend his contract for another period.

    Most of our 195-odd team is either in the animation department or in cleanup, creative supervision or managerial department. But it is tough to break them into fixed or variable model.

    Which international projects are Escotoonz working on right now?
    At present, we are into some 2D animation production for the international market. We are doing some service-oriented work as well as co-production, so we have a share of the property rights.

    We are working on two projects; both are co-productions. We will be retaining rights for certain territories but I can’t reveal them right now.

    The first one is a TV Christmas Special called Christmas Dinosaur for PorchLight Entertainment, U S.Christmas Dinosaur is an one-off episode or 48-minutes film.

    Primarily, we are doing animation production from layout through digital ink-and-paint in Christmas Dinosaur. A team of 160 members is working on the project and it is expected to get over by October end. As for the pre-production and post-production work, it will be taken care of by Porch Light.

    Our second project – which we have just started to work on – is a 36-episode series called Cyber Dodo. This project is being done in partnership with U K’s Sparkus Animations. The end client is Cyber Dodo Productions, promoted by UNICEF and WWF. Escotoonz, Sparkus and Cyber Dodo will be co-producers of this series. Each episode will be of five minutes and primarily talk about children’s rights. Each episode will have a different script.

    We are handling Cyber Dodo‘s pre-production work – such as character design – along with Cyber Dodo Productions.

    This series is a sequel to an earlier series on children’s rights from Cyber Dodo. The project is about to enter its production stage and is scheduled to get over by March 2004.
    Indian studios are getting more work due to cost effectiveness, even while sustaining quality

    Why do you think are Indian studios gaining more work?
    It’s obviously is due to cost effectiveness, while sustaining quality. Besides, it is easier for the US and European countries to coordinate with Indian studios as there is no hassle in communication, unlike Chinese, Korean or other Asian countries.

    Here in Escotoonz, there is not a single foreigner, besides me. Majority of out artists are from other studios and they have a minimum of five years experience. They are as good as their counterparts in other Asian countries. I personally feel this, as our work is being highly appreciated by our clients.

    Do you handle part of the creative side as well?
    No, I have always been into management of operations. I am not into creative work. Besides handling marketing of Escotoonz operations, I am involved in training.

    Like other studios, Esctoonz has in-house training too and we are into our third batch.
    I have become an adopted child of India. My colleagues call me ‘Filip-Indian’

    Escotoonz is focusing on co-productions. Why?
    I think going for co-productions, through which a studio retains the property rights, is the correct way.

    If you have the property rights, then the sales revenue you get either from broadcasters or merchandising, provides more opportunities for growth. This is true even if it comes after two or three years. Consequently, you would anyway have covered your operational costs through the service work. So it sustains the whole studio. That’s how the Korean studios survived in the past and to date.

    The difference between Korean and Philippines studio was that the latter didn’t have co-production mindset whereas the Koreans took the plunge into this arena. They partnered with the western companies and even if they reduced on their cash portion to cover their costs, they stressed on having a portion of revenue of the series.

    Do you think Indian scripts will work out for original content?
    I don’t think studios in India are in the same league as those overseas. Animation scripting is very different from scripting for live action film. Having a script writer from international market makes a huge difference. That way, you are able to understand the needs of the international market in an appropriate manner.

    The Indian channels do not pay the same kind of licencing fees, as the international broadcasters. And to make it universal, you need expertise in original content.

    How has attitude changed towards Indian studios?
    I have been involved in the animation industry for the past 14 years now. In Philippines, I have worked with Manila-based Fil Cartoons, a subsidiary of Turner Broadcasting, for eight years.

    My first international fair in India was MIPTV in 1999. Since I had met a lot of international clients when I was working in Philippines, I knew them. Their first reaction frankly was: ‘Is there animation work really happening in India?’

    So it was and is more about creating awareness of our existence and quality of work being done in India.

    Do you intend to continue working in India?
    I have become the adopted child here. My colleagues say I have become ‘Filip-Indian’.
  • Crest Comm approves delisting, GDR issue of $ 10 million

    Crest Comm approves delisting, GDR issue of $ 10 million

    MUMBAI: Mumbai-based Crest Communications Ltd is going the GDR way to raise funds for the company.

    In the annual general meeting (AGM) held on 8 September 2003, the members of Crest Communications Ltd have approved a GDR issue not exceeding $ 10 million. The shareholders have also approved the delisting of the company from the Ahmedabad and Chennai stock exchanges. Additionally, the borrowing limit for the board of directors has been set at Rs 1000 million.

    Earlier, at its meeting held on 31 July 2003, the board had already agreed to take the above issues to the members for approval.

    Crest Communications is primarily into animation software. It specialises in multi-format digital production and post-production editing. Its mainline business includes commercial television serials and packaging, ad films, 3D/2D animation and special effects.

    The company reportedly plans to ramp-up the number of computer graphic workstations from 120 to about 300 by the year-end, which is expected to cost the company about Rs 500-600 million.

    Earlier this year, Crest Communications had bagged three 3D animation television series worth over $6 million from the US-based Mike Productions. Its competitors in India include Pentamedia, UTV Toons, Colour Chips and the Padmalaya-Zee Telefilms combine.

  • “We have to create awareness of the quality work being done in India” : Alice Manuel Escotoonz head

    “We have to create awareness of the quality work being done in India” : Alice Manuel Escotoonz head

    She has been in India for only five years, but is already a key person in the Indian animation industry. Alice Manuel, who joined UTV Toons in 1998, is currently head of production in the fast emerging Faridabad-based Escotoonz.

    The studio, which has 195 artists working on various projects today, recently finished its first international project King. Co-produced along with Ottawa-based Funbag Animation Studio and Toronto’s Decode Entertainment, the 13-episode, 22-minute series was premiered on the Family Channel in Canada recently.

     

    Now Escotoonz is working on two more international projects including assignments from the US and European studios.

     

    Indiantelevision.com’s Ritesh Gupta got in touch with Manuel on Escotoonz’s operations.

     

    Excerpts:

    When did Escotoonz commence its operations and how many artists are working with you now?

    Escotoonz formally commenced its operations in July 2001. Initially, we had a team of only 30 artists. The first year of operations was basically about training our own team and setting up our processes. We also worked with advertising agencies and television channels for local content.

     

    In December 2001, we bagged our first contract – the animation series King, co-produced by Escotoonz, Funbag and Decode. We worked on this project from July 2002 to April this year. In the past two years, we have also strengthened our operations by expanding our team strength to 195 members.

    What is the core competency of Escotoonz?

    At Escotoonz animation studio, a majority of business comes from 2D animation. But we have done some pilot project for a UK company in 3D and flash, as well. The client is happy with our effort and if we get to work on the contract, then we will strengthen our operations in this arena too.

    What kind of organisational structure does Escotoonz follow?

    It’s a mix of fixed and variable or contractual model. For instance, if we have an employee on a 12-month contract, we let him work on a new project after the previous one is finished. In that case, we just extend his contract for another period.

     

    Most of our 195-odd team is either in the animation department or in cleanup, creative supervision or managerial department. But it is tough to break them into fixed or variable model.

    Which international projects are Escotoonz working on right now?

    At present, we are into some 2D animation production for the international market. We are doing some service-oriented work as well as co-production, so we have a share of the property rights.

     

    We are working on two projects; both are co-productions. We will be retaining rights for certain territories but I can’t reveal them right now.

     

    The first one is a TV Christmas Special called Christmas Dinosaur for PorchLight Entertainment, U S.Christmas Dinosaur is an one-off episode or 48-minutes film.

     

    Primarily, we are doing animation production from layout through digital ink-and-paint in Christmas Dinosaur. A team of 160 members is working on the project and it is expected to get over by October end. As for the pre-production and post-production work, it will be taken care of by Porch Light.

     

    Our second project – which we have just started to work on – is a 36-episode series called Cyber Dodo. This project is being done in partnership with U K’s Sparkus Animations. The end client is Cyber Dodo Productions, promoted by UNICEF and WWF. Escotoonz, Sparkus and Cyber Dodo will be co-producers of this series. Each episode will be of five minutes and primarily talk about children’s rights. Each episode will have a different script.

     

    We are handling Cyber Dodo‘s pre-production work – such as character design – along with Cyber Dodo Productions.

     

    This series is a sequel to an earlier series on children’s rights from Cyber Dodo. The project is about to enter its production stage and is scheduled to get over by March 2004.
    Indian studios are getting more work due to cost effectiveness, even while sustaining quality

    Why do you think are Indian studios gaining more work?

    It’s obviously is due to cost effectiveness, while sustaining quality. Besides, it is easier for the US and European countries to coordinate with Indian studios as there is no hassle in communication, unlike Chinese, Korean or other Asian countries.

     

    Here in Escotoonz, there is not a single foreigner, besides me. Majority of out artists are from other studios and they have a minimum of five years experience. They are as good as their counterparts in other Asian countries. I personally feel this, as our work is being highly appreciated by our clients.

    Do you handle part of the creative side as well?

    No, I have always been into management of operations. I am not into creative work. Besides handling marketing of Escotoonz operations, I am involved in training.

     

    Like other studios, Esctoonz has in-house training too and we are into our third batch.
    I have become an adopted child of India. My colleagues call me ‘Filip-Indian’

    Escotoonz is focusing on co-productions. Why?

    I think going for co-productions, through which a studio retains the property rights, is the correct way.

     

    If you have the property rights, then the sales revenue you get either from broadcasters or merchandising, provides more opportunities for growth. This is true even if it comes after two or three years. Consequently, you would anyway have covered your operational costs through the service work. So it sustains the whole studio. That’s how the Korean studios survived in the past and to date.

     

    The difference between Korean and Philippines studio was that the latter didn’t have co-production mindset whereas the Koreans took the plunge into this arena. They partnered with the western companies and even if they reduced on their cash portion to cover their costs, they stressed on having a portion of revenue of the series.

    Do you think Indian scripts will work out for original content?

    I don’t think studios in India are in the same league as those overseas. Animation scripting is very different from scripting for live action film. Having a script writer from international market makes a huge difference. That way, you are able to understand the needs of the international market in an appropriate manner.

     

    The Indian channels do not pay the same kind of licencing fees, as the international broadcasters. And to make it universal, you need expertise in original content.

    How has attitude changed towards Indian studios?

    I have been involved in the animation industry for the past 14 years now. In Philippines, I have worked with Manila-based Fil Cartoons, a subsidiary of Turner Broadcasting, for eight years.

     

    My first international fair in India was MIPTV in 1999. Since I had met a lot of international clients when I was working in Philippines, I knew them. Their first reaction frankly was: ‘Is there animation work really happening in India?’

     

    So it was and is more about creating awareness of our existence and quality of work being done in India.

    Do you intend to continue working in India?

    I have become the adopted child here. My colleagues say I have become ‘Filip-Indian’.

  • Crest Communications to issue GDRs upto $10 million

    MUMBAI: Mumbai-based Crest Communication Ltd has decided to go the GDR way to raise funds for the company.
    The Crest Communications board of directors is looking at an issue of Global Depository Receipts (GDRs) to the tune of $10 million.
    The company has informed the stock exchange that it will be seeking its shareholders’ approval for the GDR issue in the forthcoming AGM on 8 September 2003. The board has also formed a committee to take appropriate action in this regard.
    At its meeting held on 31 July 2003, the board also decided to de-list equity shares of the company from Ahmedabad and Mangalore Stock Exchanges subject to approval of shareholders at the ensuing AGM of the company. The board has already informed the exchange about the de-listing.
    Crest Communications is primarily into animation software. It specialises in multi format digital production and post-production editing. Its mainline business includes commercial television serials and packaging, ad films, 3D/2D animation and special effects.
    The company reportedly plans to ramp-up the number of computer graphic workstations from 120 to about 300 by the year-end, which is expected to cost the company about Rs 500-600 million.
    Earlier this year, Crest Communications had bagged three 3D animation television series worth over $6 million from the US-based Mike Productions. Its competitors in India include Pentamedia, UTV Toons, Colour Chips and the Padmalaya-Zee Telefilms combine.

  • Animation producers form association

    Animation producers form association

    NEW DELHI: The Animation Producers’ Association Of India (APAI) is being formally inaugurated in New Delhi today.

    Twenty animation production houses, including UTV Toons, Pentamedia, Padmalaya, Crest and Maya Entertainment have decided to join forces to market India as an important centre for outsourcing content, according to media reports. The association will create a common website, produce CD-ROM’s and participate in international festivals like MIPCOM 2002 at Cannes.

    ” If India desires to garner five to seven per cent of the outsourcing market in the next two to three years, it will need to lobby together as a body and get industry status from the government. The government has to take several initiatives,” UTV Toons’ chief operating officer Biren Ghose has been quoted as saying.

  • Ram Mohan for more animation training centres in India

    Ram Mohan for more animation training centres in India

    MUMBAI: “I want to set up a pre-production and training facility. I am holding talks with people in schools too, and am trying to convince them to introduce animation as a subject, ” says animation pioneer Ram Mohan, who recently quit UTV Toons to join Graphiti Multimedia as chairman.

    Mohan, a name that has become synonymous with Indian animation, has definite plans of improving the state of animation in the country. “What we lack in India is adequate training. We have lot of talent in our country but unfortunately no one to tap it. Western countries have schools which provide specialisation in all processes of animation . We lack that here,” says Ram Mohan.

    He insists he wants to continue as a freelance consultant and as a future endeavour wants to primarily develop original animation content and explore possibilities on Indian television.

    On the state of animation in India, he says: “We have reached a plateau as far as 2-D animation is concerned. A large number of studios all over India cater to studios in Taiwan, Korea and Philippines. Though contract work has increased, it is not proportionate to the number of studios mushrooming in the country. As a result, work is being spread thin and there is no likelihood of of growth in that direction.”

    Ram Mohan sees the advent of Cartoon Network as a positive since it has given a much required boost to the profession in the country, but it according to him, it still has a long way to go. “Ninety per cent of the programmes on the channel (Cartoon Network) are sourced from abroad. It is just recently that the channel has started using Indian content such as The Ramayana and the Pandavaas,” he says.

    Ram Mohan has been drawing cartoons ever since he was in school. But it was a chance encounter with Clair H Weeks, veteran Disney animator, who was in Bombay in 1956 to help the government of India set up an animation studio, that led to a job in the cartoon film unit where he worked for the next 12 years and paved the way for his career in animation. He has made countless commercials, some children’s films (including the White Elephant for UNESCO), one animated feature, the Japanese production of The Legend of Ramayana (which he co-directed with Koichi Sasaki) and the Meena and Sara series for UNICEF.

  • UTV Toons bags award at Asian Technical and Creative Awards

    UTV Toons bags award at Asian Technical and Creative Awards

    MUMBAI: UTV Toons’ animation series Meena in the City has bagged the runner up award in the Asian Technical and Creative Awards 2002 in the Best 2D Animation category.

    Meena in the City revolves around Meena, a girl child born in India, who suffers on account of gender inequality. The series, made for UNICEF, has been telecast in several countries in Asia and elsewhere, according to UTV Toons business development manager Jyotirmoy Saha. Meena won the award for the characterization, attention to detail, style and finesse, says Saha. 

    The five year old wing of UTV Software, UTV Toons ranks among the region’s top animation outsourcing destinations for both Flash and Traditional animation, with a repertoire of clients from Europe, North America and Asia. The animation production house currently has four projects on hand, three of them for North American clients. 

    Among UTV Toons’ other projects, Jo Kilat for TV12 has earlier been awarded the best children’s TV programme in Bahasa Malaysia. The series depicts the adventures of 12 year old Jo Kilat and his friends. Another series made for Unicef, Sara, highlights problems of teenage pregnancy, HIV and AIDS, which are burning issues in South Africa.