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Animation
as a form of entertainment has evolved
considerably and transcended age barriers. With its new approach, the
genre now appeals to adults as much as to children. Within India itself,
experts have envisaged that even though growth for this industry will
be exponential in the short-term, the industry would need to ramp up the
numbers of trained manpower. But India has a lot to catch up on.
Animation movies began being made only a decade ago, compared to the
West where such movies were embarked upon in the 1920s.
Obviously,
therefore, there are concerns about a demand-supply mismatch and the
industry’s ability to realise its untapped potential. Is it the fault of
the students? Do they have expectations beyond their level of
competence? What do employers look for?
DNA’s Vijay Pandya,
discussed the current scenario and what lies ahead with a cross-section
of industry representatives. The panel included (in alphabetical order)
Chand RK, director, Digitales Studios and co-founder, www.cgtantra.com;
Arnab Choudhary, director, Arjuna The Warrior Prince; Bhavika Chouhan,
Sr VP - marketing, Maya Academy of Advanced Cinematics; Mehul Hirani,
creative director, Crest Animation Studios Ltd.; Kireet Khurana,
director, Toonpur Ka Superhero and chief creative officer, Frameboxx;
Easo Thampy Mathew, country head, Arena Animation; Sapan Narula,
managing partner, Epic Studios; Ram Warrier, head - corporate marketing,
Aptech Ltd.
Given below are edited excerpts.
Skills required
Choudhary:
By making a clear distinction among various job roles ranging from the
artist to technician, is largely how the studios operate and you will
hire workforce accordingly. You will hire people with the stipulation:
“30% of my staff needs to be technically sound, but need not be
visionaries. They need to be able to operate the tools, but they don’t
need to be able to create original IP [intellectual property] or design a
character or anything else.” So there is a certain balance that needs
to be maintained and as long as that balance is a healthy one, we’re
heading in the right direction.
Chand: My creative team is asking,
“Who gives the guy coming through an institute with the choice [of
career]? Who makes them realize that after five years or six years or
seven years, is he going to be a technician and work ahead on the path
like this, or you’re going to be a thinking animator or a director and
then, how do you guys handle it?” Because what we are facing, and I’m
sure all of us are facing, is a similar question: “Is it that the guy
who comes to us as a fresher doesn’t know [the growth path of the job he
is meant to do]? Is it that he doesn’t know maybe because when he was
being taught, or he was undergoing training, that part of training was
not part of the course?” I mean I don’t know if that’s the missing part
of the puzzle.
Chouhan: Culturally also, the way education has
evolved in India, it is very different from the way it is abroad. Over
there, creativity is built into a child from very early ages whereas
here that’s not the case. The emphasis is more on academic orientation…
So that has been always a critical factor – how to evoke in them the
culture of India and something like creativity.
Matthew: The
student’s perception of anything is to find a job. That’s the very base
of their strategy. And if you look at animation, the perception started
with is the IT base. So their approach was from that point of view --
they were trying to learn tools. There is nothing wrong in it. The
student perceives that “I need to get a job”. And so if learning these
tools is going to get him a new job, that’s it. That’s where he will
start. If you look at the international scenario, there the perception
is totally different; there is a culture of understanding. So all of a
sudden we cannot say that the animation training institutes or the
animation industry should be creating only intellectuals. It doesn’t
have to. I need a job. That’s the perception. The industry required, at
that point of time, labourers or tools-oriented people. So institutes
catered to this need, and it’s evolving.
Khurana: Most of the
animation education space is actually with training institutes, where
people are essentially being trained in software. That’s the way we
started, which is need-based training. What really needs to be done is
basically move from need-based training to value-based education, which
is a holistic understanding and a holistic revamp of the entire
curriculum. The job is to create thinking animators, because that’s how
we’ll be going up in the value chain.
Hirani: I agree that the
number of students, who come out, whom you can really absorb into your
studio, is not adequate. But my personal experience has been that I have
found some really, really clean freshers, who have performed amazingly
well, so I don’t want to take away that skill from them. But there are
students, even artists, who do not know why they have come into this
industry – it is not very clear to them. The day the student’s
understanding becomes clearer -- that I am here just because I really
love to do what I am doing – that is when his work will cease to appear
as hard work.
Warrier: The way I understand it, in any which way
you look at it, studios typically operate with their own proprietary
software, with their own methodologies of what they prepare. So what we
do is to prepare students only up to a particular stage. After that
they are anyway taken into the studios. What is important for us is to
impart -- apart from tools and knowledge of software stuff like that –
are the very fundamentals of the concepts involved. And if we are able
to work on that properly, and are able to give the student who is going
to the studios those very basics, it would make the students more
relevant to their employers. The studios would welcome it.
Narula:
It becomes very difficult to find the right people. Most of the people
in the industry are all operators. They can operate software. But
finding a person who can understand concepts and work on visual effects,
is good with colours and good at visualising how it’s going to be at
the end of the day, how the output will turn out to be, is not easy.
This is even true in the case of animation, where like with modelling,
they need to be trained in the very aesthetics.
The training scenario in India
Chouhan:
Earlier it was very difficult for a child to go back home and say that I
want to do a course in animation. ‘You are going to make cartoons?’ was
the immediate reaction of the parent. This is no longer a fact today.
In the major metros, mini metros as well as tier-three cities also,
animation has now evolved as a career; it has got established. People
are quite keen in terms of sending their kids into animation as they
understand what’s happening in this industry. And at the same time,
there is enough hard work also. So there are two kinds of people here;
there is a creative side as well as a labour side. Though it’s a new age
career, there are lots of aspirations. A lot of hype is also there in
terms of the industry glamour. So they coming into the system thinking
that “okay, we’re going to be James Cameron from day one or we’re going
to be Steven Spielberg from day one”.
In fact, we also have evolved lot at our end, primarily to overcome the
mismatch between their expectations and workplace reality. We had a
dedicated two-month sketching program initially but slowly realised that
they don’t want to go through that kind of a rigorous training program.
From day one they want to be on software. So we tried to evolve, to
find some other way, so that creativity is instilled into them. We must
also recognise the fact that this generation is also very different,
expectations are very high from their end and that they are very
impatient. Everything must be got immediately.
Warrier:
Obviously, the guys who come to us are pretty young and not probably
clear on what they want to do and haven’t decided or
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