image courtesy: Dhimant Vyas & Aardman Studios

Dhimant Vyas aka Kaka is a much-loved veteran of animation and his sessions always guarantee a full house. So on Sunday, the 2nd of May, when the Pelicula Auditorium at Whistling Woods International, Mumbai was temporarily transformed into Kaka’s Clayground for an afternoon of fun, films and learning, the 300 strong audience got much more than they bargained for.

In a span of 5 hours, Dhimant took everyone on a tour of Aardman Studios, Bristol, Bath and Stone Henge, with Shaun the Sheep, Purple, Brown, Wallace and Gromit for company. The audience not only got a peek behind the scenes of many Aardman films but also into the rich culture of Bristol, with its assorted festivals - of kites, balloons, boats and much more! And of course, they learned about ‘clay animation’, ’stop motion’ and ‘go motion’.

TASI’s Joint Secretary Vaibhav Kumaresh, an accomplished animator himself, began the session by introducing Dhimant to the audience for the benefit of those who don’t know him (Although I doubt that there was any such person in the crowd). He promised the audience a ‘hot’ session, hinting at the popularity of the event and simultaneously lamenting the fact that the venue had a scheduled power cut. Luckily for the audience, eventually it was only the the session that was hot.

image courtesy: The Animation Society of India (TASI)

Having previously worked with the Aardman Studio team on ‘Creature Comforts’, Dhimant had been specially invited to work on the new episodes of Shaun the Sheep (currently being aired on Nickelodeon in India), which is how he found himself spending close to a year in Bristol, UK, at the Aardman Studio, working right from pre-production stage to animation.

Dhimant began by screening a few short clips, requesting the audience to refrain from taking any photos or videos as it was all copyrighted material. The agenda was to share his experience of working on two clay-animation TV series at Aardman Studios - ‘Shaun the Sheep’ and ‘Purple and Brown’.

image courtesy: Dhimant Vyas & Aardman Studios

After screening an episode of Shaun the Sheep, rather than just talk about how the films were made, Kaka chose to elucidate through photographs. This part was highly interactive with Kaka explaining in great detail the process of animating for Shaun the Sheep, the audience throwing a constant barrage of questions his way and Dhimant answering each one patiently.

He explained a new technique that he learned and used for the first time - Go Motion. It is similar to Stop-motion, where the objects are moved and captured frame by frame, but in the case of Go-motion, while the frame is being exposed, the background or certain elements on the set are moved, thus creating an illusion of rapid movement. E.g. The road and the bushes in certain scenes were animated using the Go-motion technique while the characters in the foreground were simultaneously being animated in Stop-motion. While the go-motion was being done on ‘ones’, the stop-motion was being done on ‘twos’.

The set for Shaun the Sheep was divided into 16 parts, besides which some sets were created and dismantled as and when required. Dhimant remembered one particular set where the glass window in one of the model-buildings was reflecting his face in many frames. They had to modify the problem part and Dhimant had to crouch each time they exposed a frame. The sets were large and sturdy, with metal reinforcement underneath facilitating the animators to actually walk over the models, some of which were expansive.

image courtesy: Dhimant Vyas & Aardman Studios

‘Shaun the Sheep’ had 3 directors, and multiple animators, each one assigned with assistants to help him or her. There are production coordinators, art directors, model-makers, set-designers, riggers, cinematographers, runners and a whole big team handling various responsibilities.

Dhimant showed visuals to explain the construction of the various character models, the mechanical rigs to show flying/jumping movements, props which were only partially constructed (on the camera-facing side only) to enable the animator to move parts freely from the other side. Few scenes were shot against blue or green screens or on glass surfaces. Most character models were created partly with clay and partly with stiffer silicone. The miniature props (everything from furniture to vegetables to houses and trees) were constructed from clay, wax, fiber glass, wood etc. The mouths of most characters were created using replacement parts to facilitate lip-syncing to dialogue. For this particular shoot, more silicone rubber was used than plasticine because it is more durable. The props are all made in-house at Aardman’s moulding facility and not outsourced because of copyright issues. The backdrops were either stretched canvas or cut-outs and matt paintings.

image courtesy: Dhimant Vyas & Aardman Studios

While watching the final film, we tend to forget the effort that goes into making stop-motion films. The maximum animation that can be achieved in a single day is 6-8 seconds but because of the complex nature of the shots, on many days only 2-3 seconds could be completed. All the hard work resulted in back problems for Dhimant and in some photos, one could see him animating while wearing a back support belt around his waist. Reshooting was a luxury they couldn’t afford because there was no time for it, so the animators had to constantly keep checking each shot.

Sometimes there are unexpected problems - like when the prop-makers created the wheels for the car without taking into consideration the fact that the wheels had to move in the scene and the result was that the motion wasn’t smooth and the wheels had to be remade.

The session was peppered with constant questions from the audience.

Q. “How do you control the light so as to avoid flicker?”
A. - “The lighting in the room you shoot in must be completely under your control. Block all natural light by covering the windows with black paper/cloth. Use a stabiliser/UPS to prevent lights from flickering. Ideally shoot at night when there are lesser chances of people switching lights on and off repeatedly.”

Q. ” Does Aardman Studios use proprietary software to capture the frames?”
A. - ” The software - Stopmotion Pro is used at Aardman, as it has a lot of useful features including onion-skinning, rig-remover, live-action syncing etc. They do interact closely with the folks who create the software.”

Next came “Purple and Brown”, and the film clips that Dhimant screened left the audience wondering how the animators had achieved such impressive squash and stretch in a medium like clay-animation. Dhimant revealed some of the tricks using photographs of the models and the animation process. Although replacement models were used most of the time, the animators still had to keep moulding and reshaping the models. There was no armature inside the models - they were completely made of plasticine. In one scene the characters wore little glass helmets and again they were faced with the problem of reflections. The glass and the plasticine kept collecting dust and finger prints so they had to constantly keep cleaning the surfaces. The mouth and lips of the characters were made on the fly so lots of spare parts were required. The model-makers are always at hand to fix any broken or deformed models.

Kaka then showed complete storyboards that were created for 2 episodes of Shaun the Sheep. The painstaking detail in each of them was astounding and bears testimony to the amount of effort goes into the making of each episode. Time flew as the audience got to see several episodes of Shaun the Sheep.

image courtesy: Dhimant Vyas & Aardman Studios

The audience was begging for more and Dhimant happily obliged by screening the Oscar-nominated “A Matter of Loaf and Death”. He also showed a few segments from the American edition of “Creature Comforts” - which he too had worked on during his first stint at Aardman Studio.

Dhimant showed photos of the armatures of the characters from “Creature Comforts” to give everyone an idea of the construction and the materials used. He also shared the slug-sheets used to mark the breakdown of dialogue and lip movements.

Some more Q&A followed.

Q. “How do you show liquids?”
A. “A variety of materials is used to show liquids - for instance the coffee in “A Matter of Loaf and Death” was made using clay mixed with jelly. Other materials include - KY Jelly, Petroleum Jelly (vaseline), White transparent plastic and Glue-gun drops.”

Q. “How does one learn timing for animation?”
A. ” Observation. And practice. Lots of it. Watch any good actor or actress from a live-action film by pausing and viewing them frame-by-frame. You will notice subtle movements and actions that you would otherwise miss. Make a mental note and use it when you animate.”

Responding to another audience question about the importance of the story in Aardman’s productions - Dhimant shared that at Aardman Studios, everyone is invited to contribute stories. Everyone from Nick Park to the peon can submit a story. A team then brainstorms on the selected story and further tweaks are made during the story-boarding process. The final word, though, belongs to the client - the company that has commissioned the film/series.

On Vaibhav’s request, Dhimant then showed a hand-drawn animation film “Raag Malhar”, which he had made few years ago - it was a brilliant example of timing in animation. He also stressed that as an animator, you never stop learning - he was learning something every day on the sets at Aardman.

The session ended on an inspiring note. Dhimant shared beautiful photographs from his stay in UK - Bristol, Bath, Scotland and even the glorious Stone Henge. Bristol is a city known for its festivals and the audience was given a glimpse into the Kite festival, Balloon festival, Harbour festival as well as an air show. Dhimant also showed pictures of the city of Bristol as seen from a helicopter, the Bristol Zoo and the brilliant wall graffiti across Bristol.

By doing so, Kaka revealed a little secret - the secret of his creativity. A keen interest in everything around, in arts, in people, in places. Travelling, observing and capturing in photographs and in his memory, every visual that he sees and storing it in his sponge-like mind, to be used sometime in the future, expressed through his art and in his animation. I do hope that these little pearls of wisdom were collected by those who were lucky enough to have the opportunity to play on Kaka’s Clayground. I sure did.

The TASI Team and volunteers - image courtesy: The Animation Society of India (TASI)

Waltz with Bashir

Well, from Ari Folman, the creator of this compelling animated documentary, actually. An interview with Marshall Fine of the Huffington Post, gives us a glimpse into the mind of writer/director Ari Folman who made this film against all odds and gained worldwide success. He has almost philosophical views on war, forgiveness and politics but those have no place here on an animation blog. What I really want to share here are 5 invaluable lessons gleaned from the interview with this unconventional film-maker. I hope our aspiring animators and film-makers who want to make their own films will take these lessons to heart.

Lesson No. 1: It is all in the story-telling

With a controversial but factual story about war combined with real, archival footage, who would have thought the film would catch the fancy of people across the world? A dark, disturbing subject like war has been tackled innumerable times before so what sets apart this film? The answer lies in the telling of the story. Can you create interest in the minds of the audience? Can you get them involved in the lives of your characters? Can you hook them, grip them, enchant them, make them suspend disbelief and lose themselves in your story? THAT is the power of story-telling, no matter what the subject is.

Lesson No. 2: Believe. In yourself. In your story. In the medium.

A lot of people questioned Folman’s decision to make a film on this subject. They felt his choice of medium was inappropriate as well. He did not have a background in animation either. But he believed. In the story he had to narrate, in the medium of ‘animated-documentary’ and most of all, in himself. The strength of his conviction ensured that the film got made.

Lesson No. 3: Never give up. Keep trying.

The task was daunting. The film was almost experimental and most people had rejected his pitch. Yet he went on undeterred. He not only worked on the film himself, he also went around trying to raise funds. He did everything possible to ensure the film was completed. He had a vision and a task. He went all out to make it a reality, not giving up even once.

Lesson No. 4: Innovate

Sure, there were problems. Unforeseen ones as well as expected ones. With a budget that was limited, Ari and his team reiterated the proverb - Necessity is the mother of invention. When you have a goal, you cannot let anything stop you from achieving it. Try with whatever is within your means but also push the limit whenever you can. Experiment, innovate, turn your shortcomings into advantages, push the envelope.

Lesson No. 5: Do it for YOURSELF

Folman did not make this film to prove a point. He did not make it to win accolades for the animation. He had a story that he wanted to narrate which he wanted to take to people across the world. He was not thinking of audiences or jury when he was making the film. He made it the way it best enhanced the story. He was focussed on the task at hand and gave it his best. That is something most of us do not do. We lose track thinking of the grand prize awaiting us at the finishing line. Do not make the film because it is your class lesson, or project, or perhaps your job. Do not do it for the ‘money’ or ‘awards’. Do it for your own sake - because you have a story that deserves to be told in the best possible manner.

I will leave you with the trailer of Waltz with Bashir and a parting thought. There is so much to learn from the experiences of others. Our animation/filmmaking students sometimes suffer because they do not have good teachers at their schools and institutes, but what stops them from learning outside the classroom?

Singapore based Toonz Entertainment, which owns the Indian animation studio Toonz Animation India, has tied up with Gang of 7 Animation USA and Hyde Park Entertainment USA to produce a CG animated feature film “The Life and Adventures of Santa Claus”, based on the classic book by L. Frank Baum, the creator of ‘The Wizard of Oz’.
Apparently, this is the first time a story explaining Santa Claus and all the Christmas traditions has ever come to the big screen. The movie chronicles the life of Santa Claus and will be directed by Tom Tataranowicz, Rich Arons and Dick Sebast, who have supervised Disney, Marvel and Hanna Barbera features. A supporting team of artists, who have worked on pictures like ‘Finding Nemo’, ‘The Lion King’ and ‘Iron Giant’, will also work on the Santa Claus movie.

The project is currently in its pre-production stage, with production set to commence in November at Toonz’ Technopark campus. The movie is expected to be released in time for Christmas 2010. Hyde Park will distribute it internationally and share North American rights with G7 Animation. Looks like mythology will just not let go of its spell on Indian animators!

Waltz with Bashir does mix in some live footage towards the end of the film and I hope it doesn’t go down the same path as Alvin and the Chipmunks did last year, getting disqualified later on a small technicality.

Meanwhile, we Indians patiently wait for someone to create an Oscar-worthy animated film. It is interesting to note that the official Indian entry for the Best Foreign Film category - Taare Zameen Par - has animation integrated into its story. In fact, for the very first time clay animation has been used in any Indian mainstream aka Bollywood film. Will be nice to have it in the final 5 nominations - would be a mini-salute for our talented animators - Dhimant and his team, Vaibhav and his team and the team at TATA’s Visual Computing Labs and TATA Elxsi.

I am really looking forward to this. I don’t have the details but once I do, I shall put them up here on the blog. It is sad that they seem to be releasing the film only in 3 metros. I am sure there are a lot of people in smaller cities who would have liked to see this beautiful film.

Persepolis is writer-director Marjane Satrapi’s magical and ingenious award-winning story of a young girl coming of age in Iran, that is both lively and thought-provoking. The animated film is an adaptation of graphic novels about her childhood. Persepolis, which has won, among others, the Jury Prize at the Festival de Cannes in 2007, and an Oscar nomination in 2008 sees Iran through the eyes of the precocious and outspoken nine-year-old Marjane. Critically acclaimed and widely enjoyed, Persepolis is a magical and ingenious film based on Satrapi’s own experiences of growing up in an increasingly fundamentalist Iran.

NDTV Lumière is the first movement of its kind in India that aims to meet the long-existing need of film enthusiasts. It will provide access to top quality cinema from across the world, premiering the best of world cinema in Indian theatres. The films from NDTV Lumière will span across genres from drama, animation and comedy to horror, thrillers and political dramas. These films include popular, critically acclaimed films from across the world and also the finest award-winning international cinema international film festivals. At NDTV Lumière, the endeavour is to create awareness of current global trends in an industry that is constantly evolving with the continuous influx of new talent, and to offer audiences a wider variety of films to choose from.

The Annecy Festival is exactly a week away and with India as the Focus Country this year; everyone is excited about the implications. NASSCOM is taking a large Indian delegation to Annecy including some of the biggest and best studios in India - Toonz Animation, Paprikaas, Accel Animation, Sanra, Kahani World, Big Animation, FX Labs, ettaminA, Blowfish FX, Dawson, Cornershop, Graphiti, Green Gold, Picasso Digital, to name just a few.

NASSCOM is organizing THE INDIA PAVILLION together with Government of India - Ministry of Information & Broadcasting at Annecy 2008 – the world’s largest creative festival for animators and the animation world.

The 27 square meters large ‘Indian Pavilion’ is the largest showcase of Indian animation companies at any single event and the stand will present the logos, play the show reel and display the logos of all the participating companies. The ministry and trade delegation will be meeting several counterparts from other countries and discussions will range from proposing growth initiatives including co-production treaties, reciprocal participation in trade shows and official visits by trade delegations between themselves. To celebrate the ‘Spotlight on India’, NASSCOM and the delegation will be the hosts for the opening gala evening on the 10th where an Indian Fair has been planned. A show-reel of student and professional films compiled by ASIFA India will also be showcased by the delegation. A handbook on India, with updated information on the industry and profiles of visiting delegates will be presented.

Speaking about this Col. S V Ramachandran, Regional Director, NASSCOM said, “NASSCOM Animation and Gaming Forum has decided to participate in selected international markets as a platform to present the Indian Industry. MIFA at Annecy is the largest ‘pure play’ animation market and NASSCOM’s participation last year convinced us about the possibilities for our members and the positive role the government can play in turbo powering some of the initiatives.”

I caught up with Biren Ghose, CEO Kahani World Inc. and Chairman of the NASSCOM Animation & Gaming Forum and here is what he had to share about NASSCOM’s role at Annecy and in the country’s Animation and Gaming scenario.

Q. As Nasscom delegate, what are you planning for the Indian Delegation to do at at Annecy 2008?

Biren: I have suggested that the main agenda for this delegation is to launch in the animation world the same main agenda that represents NASSCOM’s winning formula in the Indian IT industry. The goal at Annecy will be to use the festival and its spotlight on India to take forward the Indian animation in a glamorous and focused manner.

NASSCOM has a 7 point focus and our team will meet various people across these topics. These are:
1. Strengthen the brand equity of India for outsourcing and products
2. Partner with Government of India and State Governments in formulating enabling policies and legislation. Partner with global stakeholders for promoting the industry in global markets coproductions, etc.
3. Continue to be the thought leaders in creating the industry information for animation, gaming and VFX and deliver world-class research and strategic inputs for the industry and its stakeholders.
4. Expand the quantity and quality of the talent pool in India
5. Continuous engagement with all member companies and stakeholders to devise strategies to achieve shared aspirations for the industry and the country.
6. Encourage and facilitate members to uphold world class quality standards and enhance operational excellence.
7. Aim to uphold Intellectual Property Rights of its members.

Q. What are the main events that the team is participating in?

Biren: There are different team members and they will derive different benefits at the festival.

The India Pavilion will:
a) Act as a nodal point to receive enquiries for products services and collaborations with the delegation members.
b) Provide the professional syndicated showcase which will enable countries irrespective of their size to present their credentials in the international market.
c) Disseminate information on the Indian market and profiles of the delegations
d) Act as a networking point through the daily wine and cheese networking afternoons to the end of each market day! [3.30 to 4.30pm on the 11th to the 13th June 2008 at the India pavilion]
e) Develop a presence in a location that becomes a standard meeting point for companies that want to do business with India particularly the creative talent and producers from UK & Europe.

The Power Panel [on the morning of 12th June, Thursday] will:
a) Formally announce the government’s participation and patronage for this sector. Ms. Asha Swarup, the Secretary [the highest official in the Indian Government] for the information and broadcasting ministry is personally coming to chair the panel and to assess the potential for the Indian industry in the future.
b) The NASSCOM President, Mr. Som Mittal, is personally coming to his 1st international market in this sector to show solidarity with the initiative.
c) The Power Panel will have a mix of the Indian team presenting their viewpoints and also expatriates pointing out why India is such a strategic location for the future.

The Gala Evening is the best way to create an Indian buzz – we are expecting that the entire opening party shall have an Indian theme!

Q. You have been to various international animation events. What, in your opinion, makes Annecy particularly popular?

Biren: Annecy has already become a favourite business development venue exclusively dedicated to animation for (a) concluding European-Indian co-productions, (b) advancing strategic alliances, (c) seeing cutting-edge new pitches and competition films, (d) being the most beautiful surroundings in which the market is held. I am delighted that we have over 20 companies signed on to be center-stage at the MIFA market. The approval of the Ministry of Information and Broadcasting to participate at Annecy to help promote the Indian industry is a significant honour and breakthrough for the industry and they are working to reciprocate the government’s interest in powering this sector.

Q. Annecy is also a major festival for competition and exhibition. Is that also of interest?

Biren: NASSCOM also works with academic and industry advisors to formulate world-leading operational excellence standards. The forum is considering putting up a major festival and, for the past few years, already runs the “creative super pitch” which is the #1 pitching event in India attended by the best jurors from across broadcasters, distributors, etc. The Government has also asked NASSCOM to advise it on a national; Animation & Gaming School to be put up by the Government of India as a model institution.

Q. What is NASSCOM?

Biren: NASSCOM® is the premier trade body and the chamber of commerce of the Information Technology & Business Process Outsourcing industry in India. NASSCOM is a global trade body with more than 1200 members, of which over 250 are global companies from across the US, UK, EU and Asia -Pacific. NASSCOM’s members are in the business of Services, Products, Technology Infrastructure Management, R&D services, E-commerce & Web services. Engineering services offshoring and Animation and Gaming are the sunrise sectors.

NASSCOM’s membership base constitutes over 95% of the industry revenues in these fields in India and employs over 2 million professionals. It therefore is the #1 in its representation. It is a not-for-profit organization.

NASSCOM has been a strong proponent of global free trade. It is committed to work proactively to encourage its members to adopt world class management practices, uphold highest standards in quality, security and innovation and work to retain India’s competitive position in a dynamic world with sweeping changes. It anticipates that, by 2010, India’s IT-BPO industry could potentially generate US$60 billion in export revenues, account for 8 percent of the India’s GDP, pay for a massive infrastructure build-out and sustain around 10 million jobs.

Q. What are the aims and objectives of NASSCOM?

Biren: Among its ‘Aims and Objectives’ is to drive the overall growth of the global sourcing market and maintain India’s leadership position, by taking up the role of a strategic advisor to member companies in the Indian IT-BPO sector. NASSCOM’s varied strengths include creating and influencing government and public policy, international trade development, research and market intelligence services, and access to an international network through 17 Memorandums of Understanding and linkages with 40 industry associations across the globe. This enables NASSCOM to advise members – both established and emerging companies to further their growth.

Q. Does NASSCOM cover all aspects of India or is it confined only to big companies in big cities?

Biren: NASSCOM endeavors to narrow the digital divide in India and enable all citizens particularly the economically deprived sections to get the benefits of technology. It is working with many state governments to use animation as a means to develop employment including in smaller towns. There is also a pioneering initiative in the social sector being championed by the NASSCOM Foundation, a separate trust set up to create this empowerment for the under privileged.

Thanks, Biren! We will catch up with you soon to learn more about the NASSCOM Animation and Gaming Forum.

Attendees at nextMEDIA gain an expert understanding of the most important areas of development in the interactive media industry and learn how to create and execute profitable digital media strategies.

AAA caught up with Biren Ghose, CEO of Kahani World Inc. who is one of the prominent speakers at the digital content show in Banff, Alberta, Canada from the 6th to 8th June 2008, where India is featured as the “emerging market” for discussion. Biren Ghose will be presenting his thesis on “Storytelling 2.0″ which will explore how storytelling will change in a world where the viewer will influence its course.

There is a panel on emerging markets where key decision makers from major media companies network in a retreat based environment. Key participants featured here include:

Jim Louderback, CEO, Revision3
Leader of one of the world’s most successful Internet TV platforms.

Joseph Ferreira, GM & SVP of CBS Audience Network, CBS Interactive, CBS
Senior executive who oversee programming and syndication decisions for the newly-created and recently-launched CBS Audience Network.

Biren Ghose, President and CEO, Kahani World Inc.
Team leader at Kahani Word Inc. and principal innovator of “Indian/Asian-themed” animated movies with the strong potential for computer and mobile games, licensing and merchandising.

James Cooper, Creative Director, Another Anomaly
Award-winning creative director responsible for developing the agency’s products and non-traditional partnerships.

Jeff Barr, Senior Web Services Evangelist, Amazon.com
Responsible for furthering awareness of web services and inspiring developers to create innovative applications using Amazon Web Services.

Claude Galipeau, VP Interactive, Astral Media Inc.
Executive responsible for the digital strategy of Astral’s three business lines: radio, TV, and outdoor display advertising.

Jeremy Wright, CEO & President, b5media
Serial entrepreneur and head of one of North America’s leading blog networks.

Stephan Argent, VP, Digital Media, CTV
Executive responsible for CTV’s digital media strategy and initiatives across all digital platforms.

David U.K., Managing Director, Heavy.com (Canada)
14-year media veteran responsible for Heavy’s Canadian operations, including revenue, ad sales, programming, content licensing and distribution.

Dominique-Sebastien Forest, General Manager, Digital Media and E-commerce, Quebecor Media Inc.
Senior executive responsible for Canoe’s digital content and wireless distribution strategy; also in charge of building and operating a new e-commerce global environment for Quebecor Media online activities.

Kevin Bartus, VP of Digital Media, Rogers Media
Executive responsible for the digital and on-line assets of Rogers Media Inc.

Maria Hale, VP Content, Product & Services, TELUS
Executive responsible for acquiring and managing content featured across TELUS TV, broadband and mobile

The India panel gives a chance for the entire conference to meet the players who are leading the digital media industry in India. They will present the opportunities that are emerging and how to access India across media platforms both traditional and emerging from the perpspective of entertainment, publishing and mobile. The panel is comprised of:

* Neeraj Roy, Managing Director & CEO, Hungama Mobile
* Parmesh Shahani, Head of Vision and Opportunities, Mahindra & Mahindra
* Gaurav Dhillon, CEO, Jaman
* Gotham Chopra, Chief Creative Officer, Virgin Comics
* Ajit Balakrishnan, Chairman & CEO, Rediff.com
* Biren Ghose, CEO & President, Kahani World Inc.

“It’s one thing to talk about 360 degree content, but quite another to be able to successfully create and adapt stories and yet make them compelling across the convergence media chain of platforms! My session on Storytelling 2.0 will be a sharing of the paradigm with other experts that spend their waking hours trying to find formats and attention as storytelling moves to the iPods, PDAs, screens in malls and of course the web! Of course my accent will be on the youth and on animation! The age of user generated storied and collaborative themes all add to the complexity and fun in being a content player in this future space!” said Biren Ghose and went on to add, “As regards the emerging markets panel with old friends like Neeraj Roy, partners like Gotham Chopra and stalwarts like Ajit on the India panel I think the Indian flag will flap strong over this most delightful of venues at Banff!”

The Fairmont Banff Springs is one of the world’s finest heritage resorts. Modeled after a Scottish baronial castle and set amid the grandeur of the Canadian Rockies, “The Springs” is a grand and gracious edifice, combining timeless elegance and 38,000 sqaure foot spa facilities! “If this bunch of folks did not think digital content was fun, they would not have come to such a beautiful place to work!” concluded Biren.

This is what a visibly pleased Biren Ghose, CEO & President of Kahani World, had to say from Cannes, where the company is showcasing its bouquet of 7 spanking new films with a distinct ‘Eastern flavour’ but targeted at a worldwide audience.

In the next 2 years, Kahani World, which is headquartered in Canada, will produce 7 films specially targeted at the three viewer segments of kids, tweens and teens. The content will be extended to various platforms, including dynamic new media.

Here’s a quick look at the slate of films:

Secrets of Seven Sounds, a Deepak Chopra and Shekhar Kapur production, in a joint venture with Virgin Comics.

Raju the Rickshaw predicted to be the Asian successor to ‘Thomas the Tank Engine’.

Coderman, a new kind of superhero film for tweens.

Chipkali World - The Gecko Adventures, a pioneering inter-relationship between our world and exposing the unknown ‘parallel world’ of Geckos.

Game Access - a movie that endeavors to probe into the world of video games. Co produced with Nelson Recinos, two time Emmy award winner for Spielberg’s ‘Pinky & the Brain’ and the Batman animated series.

I Prin an enchanting story of three young girls groomed to become princesses at Academie Royal, a multimedia property, co produced with Sieundesign, Korea. I Prin is also the 1st animated IMAX movie being made in India.

Ashati - the Asian Princess an Asian teenage ‘girl hero’ story, ‘crafted’ by Srinivas Krishna, a celebrated Toronto based film Director.

Kahani World is spearheaded by Biren Ghose, CEO & President, who has been ranked as one of the 25 Asian Toon Titans of 2008. .“Kahani World will pioneer animation movies with distinct & contemporary Indian themes in a ‘platter’ that makes families laugh, learn and grow together,” says Biren. He also adds, “We have the most diverse movie pipeline in animation due to the three years we have spent investing in the finest talent and technologies. In a country where, for the next 30 years, 30% of the population will be below the age of 25, we feel we are in the perfect position to crest this new wave!”

For more on each of the films, visit the Kahani World website - www.kahaniworld.com

The series was created by Jim Henson and featured a cast of Muppet creatures - the Fraggles, Doozers, Gorgs, a Trash Heap, a Dog and his Human Master. A worldwide hit at that time, the theme was an allegory to the real world where different races co-exist, sometimes oblivious to each other’s existence and interdependence. There was also an animated version of the Fraggle Rock series which lasted only one season, but sadly , those of us in India did not get to see it.

The good news is that Gogo, Wembley, Mokey, Boober and Red , the most popular Fraggles will be reunited in a new live-action musical feature for the big screen. The Jim Henson Co. will produce and TWC will distribute the film which will be directed by Cory Edwards. No dates have been announced as yet, so until then, enjoy this clip of the Fraggle Rock intro from Youtube. And be a kid once again
]]> http://www.allaboutanimation.com/blog/announcements/ah-nostalgia-the-return-of-fraggle-rock/feed/ http://www.allaboutanimation.com/blog/featured/animated-shorts-for-animal-planet-by-aardman/ http://www.allaboutanimation.com/blog/featured/animated-shorts-for-animal-planet-by-aardman/#comments Wed, 30 Apr 2008 18:23:18 +0000 akshata http://www.allaboutanimation.com/blog/2008/04/30/animated-shorts-for-animal-planet-by-aardman/ Must see : Brilliant clay animation series by Aardman for Animal Planet.

http://animalssavetheplanet.com