Nowadays, the entertainment-based computer graphics marketplace can be called an established industry, with a history spanning approximately 30 years. Film directors have been using computers to create effects-laden content for films since before the 1970s. Today, however, we are witnessing an upsurge in the use of 3D animation. Although 3D has been around for a substantial amount of time, we are now seeing this medium become the standard method of effects production overtaking many approaches, including physical effects and 2D/hand-drawn animation. In many regards, it is 3D that is now seen as the future of graphic content for broadcast projects, and, with this in mind, technology is paramount.

Kaena La Prophétie is part of the trend of CG films totally created in Europe. © 2003 Xilam Films, StudioCanal, TVA Group Inc.

The aim of creating the very best in 3D computer graphic content has resulted in a workforce that strives to break the boundaries of current thinking and technological know how. Visual effects artists and technical directors are among the world’s most technologically savvy folk, and in using their skills they are continually creating new methods to give the public the most exciting cinematographic experiences. 3D animation now manifests itself in the majority of projects created internationally, from television commercials, broadcast television series and, of course, big budget movies. Previously used primarily in Hollywood movies and shorter form projects around the world, this wider adoption of the techniques is very exciting.

Over the past five years, there have been an increased number of fully CG films created within Europe, including Kaena La Prophétie from Chaman Prods. in France, El Bosque Animado from Dygra Films in Spain and Valiant, currently under production in the U.K. from Vanguard Animation. London has been seen as a center for graphics development for many years, working on increasing amount of 3D content for high profile films for decades (thanks to the contributions of Double Negative, Mill Film and Cinesite), a trend that is looking likely to continue with the establishment and expansion of companies to focus specifically on movies. This more widespread adoption of 3D computer animation techniques can be attributed to a number of factors, including the expectations of the viewing public, larger number of courses of study and teaching levels, location of talent, advances in technology leading to the decrease in equipment prices and the outsourcing of projects around the world.

Matt Cooper, managing director of BEAM.TV, believes that his company’s system will set a new industry standard for artists and clients working together globally.

In 2003, we are lucky to live in an age where individuals and companies have tools on hand that allow us daily communication on a global scale, meaning we are much closer to friends, families and colleagues around the world. This very fact has implications for today’s 3D community. Much has been written about the profound impact that the Internet has had on our everyday lives. For the producers of 3D content, the same can be said of the relatively new approval systems that are now a part of our everyday lives. There are a number of systems based both in and out of house in London and one which strives to set the industry standard is BEAM.TV (www.beam.tv). This method allows artists working in London to show work to clients based around the world via an Internet-based database of clips held as both QuickTime files and MPEG files and a decoding “beam box” rather than needing to create and send tapes, hence saving time and money. The box itself is small enough to sit on top of a monitor. Matt Cooper, managing director of BEAM.TV said, “BEAM is now a tried and tested solution. We are not only working with global agencies, but now global advertisers who are finding that at last you can work where ever you like with whoever you like and still save money and equally importantly time. Clients are able to work in many different locations on casting, shooting and on/offline and still approve same day, in DVD quality on their TV set. It couldn’t be any easier.”

The creation of technologies such as these has already facilitated the production of projects in one location for clients in another. However, there are other advantages of these systems, such as being able to use companies in different time zones, which could theoretically allow work to be carried out around the clock, with shots finally being uploaded to a central database. Similarly, it means that talented individuals based in different areas of the globe can work on projects together. Distributors based in one hemisphere could realistically produce a project with the animation team in the other. This global reach, in turn, giving scope for a wider creative input and wider ownership of the projects, which, in turn, must create a richer product.