Animation industry to grow at 27% CAGR

The animation industry in India is set to grow at a Compounded Annual Growth Rate (CAGR) of 27 per cent to touch $1,163 million by 2012, according to a Nasscom report. The industry is expected to end this year at $460 million. Custom content development is the largest segment as of today, with an estimated industry size of $187.5 million, followed by animation entertainment at $120 million. Multimedia and web design contributes another $100 million, while education is pegged at $53 million. The animation industry in India is set to grow at a Compounded Annual Growth Rate (CAGR) of 27 per cent to touch $1,163 million by 2012, according to a Nasscom report. The industry is expected to end this year at $460 million. Custom content development is the largest segment as of today, with an estimated industry size of $187.5 million, followed by animation entertainment at $120 million. Multimedia and web design contributes another $100 million, while education is pegged at $53 million. The share of education segment is expected to increase from 11.5 per cent to 17.5 per cent from 2008 to 2012. There is immense demand among students to enroll in long-term, skill development courses to pursue a career in animation. Also, as new technologies keep emerging, there is a constant need for skills upgradation courses. The industry expected to go through consolidation with smaller players being acquired by the bigger companies. There are a total of 85 domestic animation movies that have been announced over the last year and 28 are in different stages of production. Over the next two years, 15 animation movies are expected to be released. Animation companies have also started focusing on building original IP, which they can leverage in terms of merchandising and TV broadcast revenues. The report suggests that the production budget for animated movie will increase from $2 million-$2.5 million to $5 million-$7.5 million. The average realisations for a good animation movie will increase between $7.5 million to $12.5 million. Nasscom expects the gaming industry to grow at a CAGR of 50 per cent to touch $1060 million by 2012. The sector will end this year at $212 million. Mobile companies will undergo structural changes to address production slippages, falling revenues and the higher revenue shares retained by telecom operators (up to 65 per cent). Better quality mobile games and enhanced skill sets will result in a rise in mobile game outsourcing deals. Higher revenue shares, third-party contracts and end-to-end development of mobile games will lead to better revenue realization for mobile game developers. The release of locally developed games with international appeal will open up new target markets for Indian mobile gaming companies. Development of domestic localised PC games is expected to pick up. Due to stringent antipiracy measures and a reduction in the affordability gap, the sale of legitimate PC games is expected to increase. Outsourcing deals, especially in the end to end production domain, is expected to rise significantly.

The potential of the Indian Animation and Gaming Industry

Animation, simply put ‘the fine art of taking a pencil for a walk’, has today reached stupendous dimensions in its maturity and emerged as a niche industry clocking revenues of USD 80 Billion in FY 2007-08. The potential of the Indian Animation and Gaming industry is touching revenues of USD 550 Million in Animation and USD 161 Million in gaming in FY 2007-08, at a time when the world is looking towards Asia as an upcoming provider for this segment.
Few can argue against India’s potential as an Animation and Gaming hub, especially against today’s backdrop of a fast developing sector, the penetration and potential for this segment - both for cinema and television in India is very encouraging. It promises new developments in gaming and new surprises with screening in 3D and making of Hollywood VFX blockbusters.
With an objective of creating a platform to discuss, debate and preempt industry trends, NASSCOM is pleased to announce the 6th edition of its ‘Animation & Gaming India 2008’ from November 6-7, 2008 at the Hyderabad International Convention Center, Hyderabad. Over the years this event has become a premier event for this emerging sector in India, attracting the industry leaders, analysts, observers and media.
This is the opportunity for an organization to participate in one of the biggest animation events, spread over two days. Participants get a chance to interact with luminaries from the industry, listen to experts debate on topical issues and trends, witness interesting case studies and see the best of animation and gaming previews, in addition to introductions to the latest animation and gaming technologies, most of the time before it is out in the market.
The target audience for this event includes animators, producers, program directors, broadcasters, production units involved in media & entertainment, art & design schools, IT companies, investors, VC’s, government officials from Films Division/ Information and Broadcasting Departments, media etc. It will provide an ideal platform for Indian animation, gaming, electronic media, mobile and console players to participate at the event and demonstrate their competencies, strengths and capabilities.

India’s First Expo on Animation, VFX & Gaming

Visit Expo Website for more information

CGTantra has partnered with Nine to organize CGTExpo 08 - India’s First Career Guidance and Computer Graphics Technology Expo on Animation, Visual Effects and Gaming. Conceived with CGTantra’s philosophy of “Learn Inspire Grow”, CGTExpo aims to provide an insight into a career in Animation, VFX and Gaming as well as a cross pollination among the Studio’s, technology professionals and the student fraternity. Activities planned at the Expo include a Job Fair, an Education Fair, a Technical Exhibition, Master classes, Showcases, Seminars, Student Competitions, Art Galleries, Entertainment Zone etc. Set to be the largest such event in India, it will be held over 2600 square meter of air-conditioned space at Bombay Exhibition Centre, Western Express Highway, Goregaon (E), Mumbai on 24th and 25th May, 2008.

The potential of Indian animation industry

The success of movies like Hanuman and Bal Ganesha has made production houses realise the potential of the domestic market. The Indian animation industry is moving away from being just a back office for Hollywood studios and other international production houses. It is now creating original content for the local market. With the success of animated movies like Hanuman and Bal Ganesha, production houses and studios are realising the potential of the domestic market. Apart from animated movies, animation series on television with original content have also been garnering huge TRP ratings such as J Bole To Jadu on Nickelodeon, MAD on Pogo among others.The entertainment segment of the Indian animation industry is worth Rs 1,300 crore, says a Ficci-PwC report on the media and entertainment industry. Over the next four years the growth in domestic demand for TV/Broadcast animated content is projected to grow at a compounded annual growth rate (CAGR) of 49.5 per cent. It is forcast the domestic market will be worth Rs 150 crore in 2008 and will touch Rs 300 crore by 2010. The launch of new channels almost everyday and the resultant desire to provide diversified and original content has made media houses look for original and localised content. The Turner Group is one such instance. Cartoon Network and Pogo — the group’s two kids’ channel — are growing at a rate of 25 per cent annually and to keep up the momentum the channel decided to acquire local content, early on. “We started acquiring local animated content in 2001. So far we have acquired 20 properties. When we launched Pogo, we felt there was a void in terms of animated content,” Monica Tata, vice-president, Advertisement Sales and Networks, Indian and South Asia, Turner International India said. The latest acquisition by the group is Chota Bheem— produced by Hyderabad-based Green Gold studios — which will be aired this summer. On the localisation strategy, Tata says: “We started by dubbing the programmes that we had in Hindi. The next level came with the introduction of Tamil and Telegu languages and then we started looking for content that would add value to the channel.” Graphiti is another firm that is bullish on the local market. Rather, it is one of the only firms which has been intent on creating original content. Agrees AK Madhavan, CEO, Crest Animation, who, having created some popular animation work in the international market, is now working on series for domestic market. Madhavan’s company is also focused on creating animated films.

Shekhar Kapur making Animation movie on a Cockroach

"I am making an animation film on a cockroach, called 'Very Aesthetic Cockroach'. It is the story of a cunning yet endearing cockroach, named Vicky. He has friends all over the world – in Greece, Spain, Russia, etc. " said Shekhar Kapur in a quiet excited way.
He has found out that cockroaches can survive the holocaust, and is quite kicked about it. Then he wonders why humans rule the Earth, when it rightfully belongs to the cockroaches. He has somehow managed to convince AR Rahman to be on board for this project. Titled Suitable Cockroach, the film is being worked upon by animation studio, Prana. Kapur, who is known for his story telling, is scripting the film. The story of Suitable Cockroach revolves around the most hated Asian creature - the cockroach. What's more, Kapur plans release the movie on the internet first, after which the theatrical release will follow.Speaking to Businessofcinema.com, Kapur says, “I never go by what’s being done. The new media is a fascinating medium and I would love to experiment my film on the net. I intend to release it on YouTube.com first.” About the expected returns, he adds, “Downloads are the most expected returns for a film being out on net first. I will be setting a new trend.” Kapur has been approached by some animation studios to ink film deals. He informs, “I am in talks with an animation studio called Animal Logic based in Sydney. It will be a one film deal.” This apart, he is also planning to upload all his work in relation to Paani on the net in terms of designs, pictures and blogs. When queried on the reason behind this, he says, “I want my audience to get linked with the movie, so that when they watch the film they feel that they are a part of the cast and crew. It is wonderful to communicate, I am the producer-I can do it.”

The Golden Cursor Animation Award

As the Indian animation revolution gathers momentum and readies to conquer the world, CNBC-TV18, India's leading business medium along with Arena Animation have instituted The Golden Cursor Excellence in Animation Awards powered by Animation Xpress.Com which is the World's No 1. source for News, Information and connectivity with Indian Animation, VFX & Gaming. These awards will present to the world, the true heroes of the Indian Animation industry. The entire industry will participate in this pioneering initiative. An eminent jury panel will then evaluate the nominations. The winners of these prestigious awards will then be felicitated in a gala ceremony later in the year.
The awards are a benchmark for excellence in animation in India and will empower the industry to its next level of growth. You are the driving force and a hero of the Indian animation revolution. It is now your time to shine and present to the world your creative genius.
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Indyarocks announces online short film festival, to include animation

Mobile and online social networking portal Indyarocks.com has announced an online short film festival which amongst other categories, would include an animation and mobile content category as well.
The festival will commence on 18 October 2007 and will conclude on 15 December 2007. Nikhil Acharya, a well known and upcoming short film maker, will be the festival director.
The award categories are divided into two sections, namely, The Viewers choice Awards and The Jury Awards. "In order to to nominate a particular film for the viewer‘s Choice Awards, those interested can log onto Indyarocks and vote for the films that have been uploaded. following the ballot system, the movie which garners the highest number of votes would be crowned as the winner," shared Manyam. "While on the other hand for the Jury Awards, the entries would be judged by the jury members, whose names are yet to be announced," added Manyam.
Dr. Vishnu, Head of Strategy, Indyarocks, said "There is a huge amount of digital content created in the offline world and it usually never gets the kind of audience it deserves. This film festival will give an opportunity to everyone to display their creativity not only to their family and friends but to a whole new audience across the world."
Founded in June ‘07 by Kalyan Manyam and Dr. Vishnu, Indyarocks is a product of PhoneLinx Communications, a new age Mobile Lifestyle solutions company based out of San Jose, California and Hyderabad.
Festival Rules
- The Film should be 1-10 minutes in duration.
- The Film can be shot on any format, including mobile phones.
- You can submit more than one short film for the IFEST.
- The Film must be uploaded on Indyarocks or sent on DVD by November 18th, 07 to the address below.
Nikhil Acharya, IFEST Director
186, Road no: 8,
Dhanalaksmi Colony, Mahendra Hills,
Secunderabad-500026, INDIA.
nikhil@indyarocks.com
* Please note, before sending your creation by DVD you must create an Indyarocks account and mention the login ID on your DVD.
- If the film is not in English, it MUST have English subtitles.
- All copyrights must be owned by the Producer. Indyarocks is not liable for any copyright violations.
- The Film must not contain any obscene language, hate content and nudity.

Autodesk Technology heats up the big screen with Action, Adventure and Animation

Digital artists around the world relied on Autodesk Inc.'s (NASDAQ: ADSK) media and entertainment solutions to deliver this summer's blockbuster entertainment. Transformers, Fantastic Four: Rise of the Silver Surfer, Surf's Up, Pirates of the Caribbean: at World's End, Penelope and countless other feature films have been created using Autodesk technology.
Autodesk software offers creative solutions that help artists raise the bar, push boundaries and deliver visual masterpieces that make for a truly authentic movie experience each and every time, said Marc Petit, Autodesk Media & Entertainment senior vice president. This summer's blockbusters offer something for everyone, including surfing penguins, hammering llamas and transforming superheroes. We continue to support and applaud those artists who create magical images, transporting audiences to exhilarating new heights.
Captain Jack Sparrow (Johnny Depp) and his posse returned in the long-anticipated trilogy, Pirates of the Caribbean: At World's End. Post-production facility Asylum completed 315 shots with a visual effects pipeline that included the Autodesk Flame and Autodesk Toxik visual effects solutions, Autodesk Maya 3D animation software, and Autodesk Lustre digital color grading system.
In one scene shaped by Asylum using Flame, Sparrow is exiled to a desert purgatory where he begins to hallucinate and sees 20 clones of himself dressed as his crew. The Flame system was also used to create the climactic maelstrom backdrop along with computer-generated characters, mast extensions on miniature ships and track shots.
Toxik was used for compositing, color correction, and final tweaks.
Industrial Light & Magic (ILM) was the main visual effects house for Pirates of the Caribbean: At World's End. ILM used Maya and Flame as part of its proprietary SABRE visual effects system to create computer-generated characters and Maelstrom sequence.
Michael Bay's summer powerhouse Transformers exploded onto the big screen as evil Decepticons re-wage war on heroic Autobots. ILM used Maya and Inferno as part of its proprietary SABRE visual effects system to complete 460 shots for the film. Maya was used for all character animation, including the challenging opening sequence in which a robot attacks an American military base in the Middle East.
Autodesk Inferno was used on two key compositing sequences, including the Bonecrusher scene where a destructive 30-foot rollerblading robot shreds through a moving bus. The robot's bones were created using Maya and imported into Inferno, and were animated and combined with flying and burning debris.
Mark Casey, ILM's SABRE/Inferno artist, explained: Creating and combining production plates, particle elements, computer-generated elements, practical pyrotechnics, and lens flares all in one shot can prove challenging and intimidating; knowing that all these elements can be tamed in Inferno is all the reassurance any artist needs.
Fantastic Four: Rise of the Silver Surfer soared on the big screen, showcasing a battle between the powerful Silver Surfer and the planet-eating Galactus. The Orphanage completed approximately 120 shots on the film, with the majority of shots involving Maya 3D animation software.
"Fantastic Four: Rise of the Silver Surfer presented us with an ever-changing array of challenges, from superpowers to surfboards. Maya was there for us at every step, allowing us to develop complex new effects easily and quickly," explained Stu Maschwitz, VFX supervisor at The Orphanage.
Up-and-comer surfer extraordinaire, Cody Maverick (Shia Labeouf), takes audiences on an animated journey in Surf's Up, from Sony Pictures Imageworks. The wizards at Sony Pictures Imageworks used Autodesk Lustre color grading system for the film's final grade. Also, a combination of software was used to create the final water animation, with much of it completed using Maya. Maya is the core of the front-end pipeline at Imageworks, explains Mike Ford, character set-up supervisor. It is used for modeling, layout, animation, and some effects work.
By leveraging the power of Maya Embedded Language (MEL) Python and Maya's API scripting, the Sony Pictures Imageworks team customized the Maya software to overcome many of the film's challenges. Comments David Schaub, animation director at Sony Pictures Imageworks, We never have the question, Well, can the software do that? Because if it doesn't, the way Maya is built allows us to create a tool that will do the job.Modern-day fable Penelope is the story of pig-nosed Penelope Wilhern (Christina Ricci) and her family's secret curse. Double Negative turned to Maya to create the complicated computer-generated tree that helps tell the tale in the film's opening. The complex construction of the growing tree involved building the basic tree shape, including the trunk and main branch structure, using blend shapes to go from one small shape to one big shape, and using a combination of plug-ins to populate the smaller branches and leaves.
The Reaping, Are we Done Yet?, I Now Pronounce You Chuck & Larry, and Hairspray were films completed with EFILM using the EWORKS color grading system to complete the digital intermediate. The EWORKS system consists of a proprietary configuration of Autodesk Lustre and Autodesk Incinerator technology.
Other summer films created using Autodesk solutions include:
· Evan Almighty: Rhythm + Hues used Autodesk Maya to create computer-generated characters and CafeFX used Maya to model and animate sixty CG salt-water tropical fish
· 28 Weeks Later: Prime Focus London used Autodesk Flame, Inferno and Smoke to create all of the film's photorealistic 3D shots, including the napalm bombing sequence of London's Canary Wharf
· Live Free or Die Hard: Digital Dimension completed 182 shots using Autodesk 3ds Max to create 3D cars, 3D buildings, 3D crowds, 3D smoke and matte painting

Cadbury Mini 2D animated TVC by Famous House of Animation

Mumbai based Famous House of Animation has recently created a refreshingly wonderful 2D animated TVC for Cadbury Mini.
The TVC Nanha Jadugar was worked on by 20 artists and was completed in 22 days.
Divided into three sections the story of the commercial revolves around a kid magician ‘Nanha Jadugar‘, who turns big things into small to entertain his friends.
The Creative Director, Famous House of Animation E. Suresh shared, "I was very clear that this will work very well with 2D. And 2D has once again become rare in terms of its presence in the TV ads. 3D and clay have become very popular lately, so I felt a need to showcase more variants within the 2D animation category to make people bold enough to go for this medium."
The first section has the Nanha Jadugar making his dad‘s car into a toy car but fails to get it back into its original size. Dad is furious, the kids run off.
The second situation is where the small kids play cricket against big bad boys and Nanha Jadugar comes to their rescue by making the opponent bats-man‘s bat really tiny like an ice-cream spoon and gets him clean bowled. The big bad boys get furious and the kids run off.
In the last section the kids feel like having Perk and other Cadbury products, but they have only Re 1 and 2. So, the Nanha Jadugar swings into action by making a section of Cadbury products smaller in sizes to make them available at the same price. The kids are all excited with the new twist in the story for once without any repercussions like the earlier situations.
Suresh said, "2D as a style seems to be very unimpressive when one has to take a client through to get him/her on board of a 2D animation production ship. It is comparatively easy with 3D and clay animation. Many clients view clay as a very exclusive medium to use and rightly so as the craftsmanship availability is rarer and that makes it very expensive too."
"But we in India, especially our TV audience are not oriented at all to the wide range of possibilities that 2D animation as a medium can offer. I would jump at an opportunity to make a stylized animated ad any day given the right amount of time, budget and patience" he concluded.