An animation powerhouse, Ashish Kulkarni has been in the animation business for over a decade and is one of the most active personalities of the Indian Animation Industry. In December 2005, he told AnimationXpress.com, "What I really foresee is that there would emerge a few big studios that would get into feature film production by the end of 2006 and early 2007. I foresee that as a bright future for the Indian Animation Industry & the beginning of a new era." Indeed. We now have this prophetic mover and shaker share insights with us on the extremely interesting subject of Intellectual Property.
 

Guest Column: Expert Speak

Indian Animation IP: creation and challenges
 
By Ashish SK
CEO, BIG Animation (I) Pvt Ltd
(6 May 2008 03:10 pm)
Intellectual property (IP), original content and pre production are buzzwords doing rounds of Indian animation circles these days. These terms are generally used synonymously. However, there is a significant difference between them. While pre production can also be part of an animation process outsourcing deal, the skills required to do original content creation are fast developing in India. On the other hand, IP development and ownership patterns are still evolving. Definitely, the fast growing original content skills will eventually result into IP ownership, whereby studios would be able to build valuation over a period of time.

In the last few years, we have seen the evolution of a short film culture in India. The short film culture takes a long time to develop, but holds the key to original content creation. Whatever the duration of a short film, it provides a creative team with the opportunity to be involved in all aspects of filmmaking: ideation, designing, scripting and the screening. In the process, a creative team is exposed to various challenges. Having been on the jury of Golden Cursor Awards this year, I have seen some of the best styles adapted in contemporary forms of animation in 2D, 3D and experimental animation. It is truly the beginning of original content creation in India. I only wish that the broadcasters take these films to the audience and give them the desired exposure. Most short films are made as part of show reels or demos. The least one could do, is give exposure to these unique animated short films. Aspects crucial for the development of original content include the story line, treatment, design, execution, voice casting, effects and music.

The future of Indian Animation lies in evolving a model which will be a right blend of animation process outsourcing and original content creation. Systematic planning will result in the development and retention of IP, thereby creating value for content in the long term. Indian artists will have to be nurtured, to give a fillip to the development of original content. I feel that the time has come to include Indian culture and heritage, world history and the English language as part of the animation curriculum. Another important ingredient of the education process is training in soft skills. The present education system is not encouraging enough to result in creative development at the cognitive level. Steps need to be taken to modify the curriculum to meet global standards, in the creative and technical sectors. This will ensure the future of original content creation and IP in India.

 
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The rich Indian culture and heritage warrants representation in the new age formats. Especially since the animation form ensures a long shelf life for the content. The only way India can make a mark in the global markets is by designing compelling storytelling systems and setting high quality standards at every level, from ideation and scripting to the execution. Animation production pipelines will have to be constantly fine-tuned to balance creative skills with high-end technical support. Pressures on original content creators are very high, as they have to do justice to the 5,000 year-old heritage on one hand and a successful live-action format in India, on the other.

A right animation product starts with the designing and scriptwriting processes. Writing for animation is quite different from writing for live-action, even the script-to-screen production process needs a lot of patience. For original animation content to be successful; we need to develop storytelling, scriptwriting and voice talent besides nurturing character designers, colour stylists, story board artists, animators, texturing and lighting artists, compositors and editors. The need is to find a constant flow of good subjects to entertain the Indian audience and the Diaspora with newer animation content, in the language that they are comfortable with. By default, animation in India is presently positioned as entertainment for kids. We will have to make great efforts to achieve the right positioning in the family entertainment and adult entertainment spaces. Indian animation IP has acceptance from the Diaspora, but needs to make inroads in the global markets.

Original content creation in animation and retention of IP rights to create value for the long term, will still remain a difficult thing. But those who believe in creating Indian Animation IP will live longer.

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