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ANIMATION WORLD MAGAZINE - ISSUE 4.10 - JANUARY 2000
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2000 And Beyond: A Host of Possibilities and Changes
"The next hundred years are going to be the most exciting in the history of animation. With the advent of computer generated imaging (CGI), we are going to see the most exciting programming on television including animation that will be produced for more niche audiences than ever before. Because of the increase of niche programming, there will be an increase in the value of character brands that reach the zeitgeist." Brian Napack, President and CEO, ThinkBox Media, Hollywood, California, USA "Searching for Broadband Utopia: As networks and channels scramble to define a broad band presence, they seem to be hoping that ever more programming choices and interactive enhancements such as T-commerce and play-alongs will revive audiences and increase bottom lines. While more programming, greater choice and interactive enhancements are certainly of interest to viewers, the emergence of broad band provides us with a much more interesting opportunity. "For broad band to achieve its potential, the venerable programming paradigm needs to be turned on its head. Instead of looking for ways to push more and more content down the pipe to an already overwhelmed viewer, the control needs to be taken away from the programmer and given to the audience. "The broad band interface has the power to transform the TV into much more than a passive entertainment medium. It can make the consumer more than just a viewer, and turn the TV into a powerful, interactive utility that enhances their lives. By providing new tools and robust services that support the audience's personal needs and interests, we, the broad band service provider, can transform the once passive viewer into an active client from whom we can earn increasing income streams. "We can either facilitate this transformation and benefit from broad band's promise, or we can maintain the status quo and encourage the viewer's steady defection to other, more useful media." Karl Sinclaire Anderson, Head of UK Production and Sales at Interactive Television Entertainment (ITE), London, England "For a long time TV has been able to get away with unoriginal and uninspired programme genres. TV has been slow to respond to change, whilst almost every area in the entertainment industry has had to face huge challenges; films, music and video games have all had their come-uppance. They have all responded accordingly and have done extremely well out of that change. Now these areas of entertainment are all chasing TV's share of the market. Extending the versatility and entertainment value to television programming is going to be the key for TV to survive. "In 1839 it was suggested that Art was dead, in light and discovery of photography. Instead, some of the best art has been born after that time. New scientific art allows painters to release their inhibitions and creativity. So it will be with TV interactivity. I would suggest we should fully explore the opportunity and herald in the new art that could help win back audiences. "All of ITE's interactive formats and WebChoice technology are about developing and building stronger, more entertaining and more fruitful relationships between the broadcasters and their viewers. So whilst I predict television is in for some big changes over the next few years, it's an opportunity that I am looking forward to." Maia Tubiana, Head of Development, France Animation, Paris, France "As a brief introduction to France Animation, and to set our point of view's origin: France Animation is one of the main animation players (production and distribution) in France and Europe. The company was created in 1984. Its shareholder has been France Telecom since 1997. Examples of series produced include Albert the 5th Mousqueteer, The Babaloos, Patrol 03, and many more. France Animation currently has many productions and developments underway. Since its founding in 1984, France Animation has built its reputation by producing mainstream animation series aimed at a target audience of 6 to 10 years of age. Many of these series have been international coproductions. Since `97, the company has focused its efforts on broadening its editorial line, in response to a market opening to new opportunities and program slots. As examples, these new directions are teen and adult oriented content, and more recently feature film animation opportunities. The animation industry is still presently influenced by these market openings, permitting an active development of these new genres without omitting the variety of programs developed for the traditional youth audience. "A new developing front is now growing, answering the positive response users have given to the pioneering animation on a few web sites. These have opened a new path to animation producers: web cartoons and the exploitation of animated characters on the net. "The actual possibilities seem already prehistoric compared to the possibilities expected to be available in a few months. The direct access to viewers is thrilling. For those producers who have been seeking to expand their activities from the traditional market's boundaries, it's a challenge that is only in its first days. This challenge does not only concern development and production. It is a hot spot for distributors as well, who have to face a new demand and provide different types of formats than those exploited on TV. "With strong backing from its shareholder, France Telecom, France Animation is currently developing, producing and expanding its catalog of many projects for the web. Nobody precisely knows the outcome of this emerging industry, but we are all witnessing or playing an active part in this `warm-up' exercise session of the industry players, big and small. On your marks!" Christian Davin, Founder of Alphanim and President of the French Animation Producers Union, France "On the brink of the next century, the European animation industry is faced with several key issues:
"Our industry enters the new century with great hopes as technology creates opportunities to wrap ideas in a fashionable way to access new audiences." Jarrod Phillips, Vice-President Sales and Marketing, hOuse of mOves, Los Angeles, California, USA "Motion capture is still a very young technology that is growing up fast. I think over the last couple of years, we've just started to see real acceptance of motion capture as a tool for animation. The reason for this is that the mocap industry is creating software for the animators which is beginning to allow them to make mocap another alternative in their ever-growing collection of animation methods. However, artist acceptance and ease of use are still the biggest issues for motion capture. "As a result of the proliferation and improvement of mocap tools and hardware, we will continue to see motion capture grow into more acceptance and the line between the digital and live-action character will continue to blur. The "ease of use" and expanding base of readily available Œstock¹ motions will fuel an even greater diversity of stylized character animation that will delight and entertain generations to come." Léa Zagury, animator and co-founder, co-director of the Anima Mundi International Animation Festival, Brazil "The main role of an animation festival is to help to maintain, revitalize and promote the art of animation in all of its creative forms. "An international festival can inspire and influence the animation industry. Most of the participating works, including commercials, educational programming, features, TV animation, and even more specifically the works of independent animators, represent and reflect the latest in ideas, styles and concerns from different cultures around the world. "Independent animators always had more freedom to find visual languages that could express their ideas and concerns, even if they had to be obscured by symbolism to escape possible governmental censorship. Most independent works prove to have great creativity and diversity of ideas, techniques and experimentation. The combination of all these elements is vital for the development and continuation of animation as an art form through the next century. "Unfortunately, it took more than a decade for some of the great international independent animation artists to be recognized and respected by the industry. Before, most of their funding came from governments and foundations. Nowadays, there are few grants available and many of these artists have been absorbed by the industry, which has notably benefited from their expertise and their works still influence the commercial and independent world. "Today, it is harder for the new generation of animators to find a chance to mature their art on personal independent works before they too join the industry. "In Brazil, over the last seven years Anima Mundi has clearly contributed to the emerging animation industry. The general population's interest in this art has broadened, proving to us that there is an audience hungry for diversity. The language of independent animation has influenced many sectors of this industry. Although there is little funding and opportunities, there are a growing number of independent animators. I hope they will persevere, so this new and exciting moment of the art of animation in Brazil will begin to mature. "As a festival co-director, I am concerned that quality independent
works will diminish if there is lesser funding available, a lack of
means for distribution and fewer opportunities to prosper. I truly
believe that it is crucial to keep independent voices alive to guarantee
the advancement of the art of animation. This will directly benefit
and rejuvenate the industry. The international festivals also need
more subsidies to better assist the independents¹ participation. I
hope that the animation industry and government organizations will
increase their contribution to this art with financial support and
offer more opportunities for distribution." |
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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