Another factor is cost. Asian studios have built their business based upon a simple paradigm: produce large volumes of work of acceptable quality, at a substantially lower cost than the client would incur onshore. As CGI/motion capture production can be produced with a smaller work force (fewer artists but expensive technology), the cost savings in Asia may not end up as favorable as in 2D animation. The three elements a client looks at are time, money and quality (not necessarily in that order). It is often said that you can have two, but seldom all three. The point here is that the 3D/motion capture ship is still on a shakedown cruise as related to television series animation. Up until now the market for this work has been relatively small (compared to traditional 2D animation), but it is showing strong signs of growth. Asian studios do not lack access to the hardware or software needed to produce 3D shows, in fact, Japan alone has more installed motion capture systems than the United States and Europe combined. What is lacking at present is the Asian studio's ability to offer the comfort and creative control a nervous client may need when first working in this new medium. When you are still trying to figure out how to do it yourself, it is hard to subcontract the job to someone six thousand miles away and hope it comes back the way you've envisioned.

Sinbad producer Sriram Rajan critiques an artist's work at Pentafour in India. Courtesy Improvision.

3D animation producer, Evan Ricks of Improvision, offered some insight into why the CGI/motion capture work for Sinbad: Beyond the Veil of Mists was completed in Los Angeles, rather than at his client's CGI studio in India. Ricks, while working for Pentafour, opted to complete the 3D and motion capture elements of the feature film at House of Moves in Playa Del Rey, California. While expressing praise for Pentafour's CGI studio in India, Ricks indicated that he felt the need on this project for a high degree of creative control and technical support. Using technical and creative staff, who had been down the road before and were near at hand, helped fulfill this need.

Tom Tooles, who runs House of Moves, feels that few clients fully understand the complexities of producing a motion capture show. Tooles points out that while anyone can buy one of the leading motion capture systems, knowing how to use it is the real trick. File naming conventions and administrative support are vital according to Tooles. Without a developed production system and experienced staff, motion capture can become a nightmare. Tooles asks, "Even if you capture some great shots, what's the use if you can't call up the files when you want them?"

Another viewpoint regarding the future of 3D animation production in Asia comes from Jeffery Harrison, Chairman of ImagineAsia, a combined 2D/3D studio in Manila. Harrison is convinced that 3D animation will travel overseas as more shows are produced in this format. Harrison and his partner Michael Collinson, have backed this belief by building a high-tech studio facility in the Philippines that is prepared to produce work in any format a client may desire, including motion capture. Harrison feels that by training experienced 2D artists to work in 3D technology, he can offer the best of both worlds to his clients. He acknowledges that the cost model will be a driving force in persuading clients to consider sending series work overseas, but reasons that 3D animation is here to stay and by building his creative staff with 2D veteran animators, designers, layout artists and background artists, he can offer creative comfort, as well as attractive pricing.