SIP at BIG Animation (I) PVT LTD

SUMMER INTERNSHIP REPORT
On
“Animation Pipeline – Planning & Maintenance”
Study conducted from May 5, ‘08 to July 4, ‘08
At
Submitted in partial fulfillment of the requirements of
Post Graduate Diploma in Management
Company Guide: - Faculty Guide:-
Mr. Vikas Verma Mr. R.K. Singh
Line Producer GHS IMR
BIG Animation (I) Pvt. Ltd. Kanpur

Pune
By
SHUBHANK GUPTA
Roll No. 0920
Batch XIII
PGDM 2007-2009
Dr. Gaur Hari Singhania Institute of Management & Research
Jaykaylon Colony, Kamla Nagar,
Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

Kanpur-208005
DEED OF DECLARATION
I, Shubhank Gupta, hereby submit my summer internship report, entitled
“Animation Pipeline – Planning & Maintenance” and truthfully declare that the above-
titled report is a product of my sincere efforts & study.
I further declare that a substantial portion of my report is lifted, from original sources, using
the words of the author and other statistical & graphical data’s from Survey Reports.
This Summer Internship Report is being prepared & submitted by me, in two copies, one at
BIG Animation (I) Pvt. Ltd, Pune & the other at Dr. Gaur Hari Singhania Institute of
Management & Research (GHS IMR), Kanpur, for the partial fulfillment of the
requirements of Post Graduate Diploma in Business Management (PGDBM).
However I take the responsibility of all my shortcomings.
DATE: July, 10th,’08 Shubhank Gupta

ACKNOWLEDGEMENT
It is a great pleasure to record my thanks and gratitude to persons and organizations whose
generous help and support enabled me to complete this project within the stipulated time
period. To complete a project of this magnitude requires a network of support, and I am
indebted to many people.
I take this opportunity to thank Mr. Vikas Verma; Line Producer, Mr. Shambhoo Phalke,
VP; Flash-2D Production at BIG Animation (I) Pvt. Ltd, Pune and other studio members
for making this endeavor possible and sharing the long-term vision for the production studio.
I would like to thank Prof. Prithvi Yadav, Director, Dr. Gaur Hari Singhania Institute of
Management & Research (GHS IMR), Kanpur for granting me an opportunity to do my
Summer Internship Project at BIG Animation (I) Pvt. Ltd, Pune and concomitantly gain a live
industrial experience. It was indeed a matter of pride & privilege to work as trainee with one
of the India’s leading groups.
I am equally grateful to my Faculty Guide, Mr. R.K. Singh, GHS-IMR and also all other
faculty members for guiding me throughout my summer internship project.
And lastly I give my heartiest thanks to my batch mates & colleague trainees for supporting
me.
Shubhank Gupta

CONTENTS
1. Deed of Declaration
2. Training Certificate
3. Acknowledgement
4. Executive Summary
5. Introduction
6. Roots Of Animation
7. Past, Present & Future Of Animation
8. Animation Movie Timeline
9. 12 Principles Of Animation
10. Report On The Indian Animation Market
11. Animation Studios In India
12. Animation Feature Films In India
13. Company Profile
14. Organization Structure
15. Company Structure
16. List Of Persons Interviewed During Internship
17. Introduction- Flash Animation
18. Production Pipeline
19. Flash-2d Feature Film Pipe Line
a. Pre-Production
b. Production

c. Post-Production
20. Crux Of Animation Pipeline
21. HRM @ BIG Animation
22. MIS @ BIG Animation
23. Commonly Used Technology In Producing Animation Movie
24. Animation Pipeline - Planning And Maintenance
25. Stage Wise Planning Process
26. Levels Of Productivity Management
27. Process & System Criteria
28. Animation Is All About Skills
29. Seventeen Key Issues That Demand Urgent Steps
30. Aladin-An Example Of 2d Animation Film
31. Conclusion
a. Setting An Industry Agenda For Accelerated Growth
32. References
a. Books
b. Films
c. Internet
33. Appendix
1. Appendix 1 - General queries regarding animation industry.
2. Appendix 2 - List of organizations working for upliftment of animation industry

EXECUTIVE SUMMARY
India ranks among the top five economies of the world in terms of purchasing power parity,
while its GDP ranks eleventh in absolute terms. Combined with the fact that India has the
second largest population in the world with over a billion people, this makes India one of the
most exciting marketplaces for any consumer products or services industry.
The Indian entertainment industry is on the threshold of emerging as a large market globally.
Future growth of the industry is expected to be led by rising spends on entertainment by a
growing Indian middle class, regulatory initiatives, increased corporate investments and the
industry's dynamic initiatives to make strategic structural corrections to grow. In addition to
the Indian middle class’ enhanced spends projected towards entertainment, the rising global
interest in Indian content is expected to fuel growth in this industry.
The project report on “ANIMATION PIPELINE – PLANNING & MAINTENANCE” is

an effort to present a critical view of the constraints faced by the industry that are
impediments to its growth, the need for concerted action and hence achieve its true potential.
One of the key imperatives that can realize this potential, as pointed out in this report, is the
need for retaining talent pool and better management of the production system.
The summer internship at BIG Animation (I) Pvt.Ltd. gave me a good idea on how an
animation studio functions and how the 2D Feature Film Pipeline is managed.
I also got to spend time in various departments like Animation, SFX, Lip sync, Light &
Shadow, Compositing and Editing, where I developed bit technical knowledge of film and
animation production equipments and procedures, as well as instructional and organizational
skills, while providing managerial support, maintenance and planning aspects in the film and
animation facilities.
There were various assignments that I was made to do, that also helped me in building my
skill sets and exposed me to working in a studio environment.
The analyses presented in the report have been arrived at through a combination of in-house
knowledge base of the Indian Entertainment Industry and extensive discussions with key
members and other experts of the BIG Animation (I) Pvt. Ltd.

The recommendation’s if implemented will be fruitful for the studio & it will also provide
value addition to the production process.
INTRODUCTION
Let the fun begin
Over the last few years, there have been discussions on the Indian entertainment industry
being on the verge of take-off, powered by new delivery platforms and technological
breakthroughs, increasing content variety and favorable regulatory initiatives. This is
expected to transform the entertainment landscape, with more players entering and traditional
players being forced to adapt or perish. One can already witness changes that have the
potential to alter the industry structure and the planning procedures for managing the
industry.
Increasing content variety
New forms of content are emerging to cater select viewers, as the industry evolves.
Content innovation is necessary to sustain the interest of the urban population.
A few instances of rising content diversity are:

• Newer programming categories like reality television,
• Crossover content in music and films,
• Niche programming on radio like sports and comedy,
• Film productions moving towards Animations, Visual Effects,
• Newer genres like lifestyle television, religion channels, etc.
Regulatory initiatives
The regulatory framework for media is still evolving. Looking at the policies announced by
TRAI, it seems that a liberal framework is likely to be developed in order to allow the
industry to flourish.
Alongside regulating broadcasting and distribution, it will be important to create stronger
protection mechanisms for copyrights and royalties. If intellectual property is protected

to a fair extent, the industry could capture far greater value, giving its growth rate a
significant boost.
The past and the future
The entertainment industry is thriving on the current economic upswing and is currently
estimated at INR 432 billion. Due to its sheer size, television has been the main driver for the
industry's growth, contributing 62 percent of the overall industry's growth. Films contributed
another 27 percent, while other segments like music, radio, live entertainment and interactive
gaming constitute the balance 11 percent.
The macro-economic environment
While India's GDP ranks eleventh in the world in absolute terms, it ranks among the top five
economies of the world when assessed in terms of purchasing power parity.
It is the growing consuming class with the ability to spend that will drive the growth of the
Indian entertainment industry.
Adding to this positive outlook is the fact that the average Indian is getting younger and is
showing a greater propensity to indulge and entertain him.

India is the world's largest producer of films by volume - producing almost a thousand films
annually. However, revenue-wise, it accounts for only 1 percent of global film industry
revenues. Film and film-based entertainment together occupy a considerable part of the
Indian consumer's mindshare. In terms of its sheer impact and visibility, film and film-based
entertainment transcend well beyond what their 27 percent direct share of the Indian
entertainment industry's revenues would indicate.

The four traditional sectors – television, film, music and radio, together account for 96
percent of the entertainment industry revenues.

The balance 4 percent is made up of revenues from live entertainment (currently a
fragmented segment with few small players) and IT-enabled businesses like interactive
game development and visual effects (engaged in outsourcing work primarily in areas of
2D animation, 3D graphics, post-production, etc.).
These sectors are now taking off and could become significant drivers of growth in the
future years.
LIGHTS ! CAMERA !! ANIMATION !!!
Animation is a complex and immersive art, with science as its backbone. It takes a great deal
of practice and dedication for an artist to master it.
Animation is a type of optical illusion; it is the process by which we see still pictures move. It
involves the appearance of motion caused by displaying still images one after another at the
rate of 24 frames per second.
The most common method of presenting animation is as a motion picture or video program,
although several other forms of presenting animation also exist. Often, animation is used for
entertainment purposes. In addition to its use for entertainment, animation is considered a
form of art. It is often displayed and celebrated in film festivals throughout the world.
Also used for educational purposes, animation has a place in learning and instructional
applications as well.
Frames per second: the rate at which sequential frames are displayed under a given display
system
• Feature films are projected at 24 fps.
• NTSC video is displayed at 30 fps (actually 60 interlaced fields per second).
• PAL video is displayed at 25 fps (actually 50 interlaced fields per second).

• Computer ``multimedia'' animation are displayed at various frame rates, with
10 fps being the minimum tolerable rate for viewing of motion images.
So, a 90 minute feature film requires 90 min. x 60 sec. x 24 fps = 129600 frames, many of
which may require some routine, iterative procedures to produce.
There are two major forms of animation: 2D (hand-drawn) and 3D (CGI).
ROOTS OF ANIMATION
SLUMBER
In 1935, when Disney had released its first feature film "Snow White and the Seven Dwarfs",
Indian animation was still at its infancy stage. Late Dadasaheb Phalke - the founder of Indian
film Industry was attempting to make the first animation short film with matchsticks. The
film was never screened.
CLAIR WEEKS
In the late 50s Clair Weeks, an animator at Disney Studios, came to Bombay and trained a
core group of animators, the principles of classical animation at Films Division, a
governmental organization, under the ministry of Information and Broadcasting. This was the
time that Indian short animation films actually got started and was exposed in the theaters.
THE 60’s
The late 50’s and early sixties saw the production of some good animation shorts. Some of
the films won International awards. All these films were essentially produced by the
government organization - Films Division, which had Indian stalwart animation film-makers

like Pramod Pati, Ram Mohan, Bhimsain, Gokhale, Satam and others. There was a virtual
non-existence of private animation studios (which were not to come into existence till the
early seventies). It looked as if Indian animation was poised for a leap. However, despite the
promise, the quantity rarely exceeded more than 4-5 shorts or more than 30 minutes of
animation each year.
And this output too started declining towards the end of the decade due to bureaucratic delays
and lack of governmental funds. Promotional films on governmental policies, family
planning, birth control, hygiene etc. started constituting a major bulk of these films. Indian
animation really started struggling to gasp for breath once again.
THE INDEPENDENT STUDIOS
Came the 70's and a whole group of people trained under Clair Weeks deserted the ailing
Films Division and started Independent Animation Studios of their own. Among them were
the two pioneers of Indian animation Bhimsain - who headed Climb Films and Ram Mohan,
started Ram Mohan Biographic. Some really good films were made during this time and
some International recognition came in. Again this was merely compensating for the decline
in production of films at Films Division and in no manner represented a boom.
By 1976, the independent studios were doing commercial work with little or no funds for
animation shorts. Bhimsain diversified into Feature films production and Ram Mohan
immersed himself almost totally in ad films.
THE DEPRESSION
The 80s saw a virtual cessation of animation films. There were no new entrants in this
unviable field. A few ad films were the only productions to show in the name of animation
and that couldn't have sustained more studios or harnessed new talent. However, with T.V.
growing at a tremendous rate, the possibilities of producing animation films could be seen in
the horizon once again. Bhimsain submitted a proposal and got approval for a 26 episode
animated series in 1989. Animation of this vast quantity was unheard of being attempted in
India.
MISSED OPPORTUNITIES OF THE 90S
The 90s has seen a relatively unprecedented boom for the Indian animation Industry.
Ram Mohan ventured into a Indo-Japanese collaboration animated feature based on Indian
epic Ramayana. After about 10 years of labour, the film was finally released in 1997 amidst
bad publicity and virtual non-awareness among the general media and people and didn't do
well commercially in India.

Past, Present & Future of Animation
Past
Cave paintings
Early examples of attempts to capture the phenomenon of motion into a still drawing can be
found in palaeolithic cave paintings, where animals are depicted with multiple legs in
superimposed positions, clearly attempting to convey the perception of motion.
Spinning pottery
A 5,200-year old earthen bowl found in Iran has five images painted along the sides. When
the bowl is spun, it shows a goat leaping up to a tree to take a pear.
Frieze reliefs
One of the earliest successful depictions of an image in motion is evident in the Greek era.
Ex. A Parthenon frieze relief which depicts a series of horses that appear to gallop at
increasing speeds as they progress.
Leonardo shoulder study (ca. 1510)
Seven drawings extending over two folios in the Windsor Collection, Anatomical Studies of
the Muscles of the Neck, Shoulder, Chest, and Arm, show detailed drawings of the upper
body (with a less-detailed facial image), illustrating the changes as the torso turns from
profile to frontal position and the forearm extends.
The magic lantern (1671)
The magic lantern was classed as the inventor of the modern day projector. It consisted of a
translucent oil painting and a simple lamp. When put together in a darkened room, the image
would appear larger on a flat surface.
Thaumatrope (1824)
A thaumatrope was a toy used in the Victorian era. It was a disk or card with two different
pictures on each side that was attached to two pieces of string. When the strings were twirled
quickly between the fingers the two pictures appear to combine into a single image. The
creator of this invention may have been either John Ayrton Paris or Charles Babbage.

Zoetrope (1832)
A zoetrope is a device which creates the image of a moving picture. This contraption was
produced in 1834 by William George Horner. The device is basically a cylinder with vertical
slits around the sides. Around the inside edge of the cylinder there are a series of pictures on
the opposite side to the slits. As the cylinder is spun, the user then looks through the slits
producing the illusion of motion. No one thought this small device would be the initial
beginnings for the animation world to come. As a matter a fact in present day beginning
animation classes the Zoetrope is still being used to illustrate early concepts of animation.
Praxinoscope (1877)
The praxinoscope, invented by French scientist Charles-Émile Reynaud, was a more

sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images
placed on the inside of a spinning cylinder, but instead of viewing it through slits, it was
viewed in a series of stationary mirrors around the inside of the cylinder, so that the
animation would stay in place, and also provided a clearer image. Reynaud also developed a
larger version of the praxinoscope that could be projected onto a screen, called the Théâtre
Optique.
Flip book (1868)
The first flip book was patented in 1868 by a John Barns Linnet. This was another step closer
to the development of animation. Like the Zoetrope, the Flip Book creates the illusion of
motion. A set of sequential pictures seen at a high speed creates this effect. The Mutoscope
(1894) is essentially a flip book in a box with a crank handle to flip the pages.
Present
Stop motion
Stop motion is used for many animation productions using physical objects rather than
images of people, as with traditional animation. An object will be photographed, moved
slightly, and then photographed again. When the pictures are played back in normal speed the
object will appear to move by itself. This process is used for many productions, for example,
clay animations such as Chicken Run and Wallace and Gromit, as well as animated movies
which use poseable figures, such as The Nightmare Before Christmas and James and the
Giant Peach. Sometimes even objects are used, such as with the films of
Stop motion animation was also commonly used for special effects work in many live-action
films, such as the 1933 version of King Kong and the 7th Voyage of Sinbad.
CGI animation
Computer-generated imagery (CGI) changed animated films forever. The first fully
computer generated feature film created was Toy Story, produced by Pixar Animation

Studios in 1995. Toy Story proved that companies were slowly making the transition from
traditional animation to CGI animation. The process of CGI animation is still very tedious
and similar in that sense to traditional animation, and it still adheres to many of the same
principles.
A principal difference of CGI Animation compared to traditional animation is that drawing is

replaced by 3D modeling, almost like virtual version of stop-motion, though a form of
animation that combines the two worlds can be considered to be computer aided animation
but on 2D computer drawing
Future
Animated humans
Most CGI created films are based on animal characters, monsters, machines or cartoon-like
humans. Animation studios are now trying to develop ways of creating realistic-looking
humans. A couple films that attempted this were Final Fantasy: The Spirits Within in 2001,
and Beowulf in 2007. However, due to the complexity of the human body functions,
emotions and interactions, this method of animation is rarely used. Of principal complexity is
the creation of a convincing human face model. Of secondary complexity but still a modern
approach are techniques for the production of convincing hair or cloth movement. Later this
form was tried again by scanning humans into computers such as the movie Beowulf in 2007.
Animation Movie Timeline
1906 -J. Stuart Blackton made the first animated film which he called "Humorous phases of
funny faces." His method was to draw comical faces on a blackboard and film them.
1908-In France Emile Cohl produced a film, Phantasmagorie which was the first depicting
white figures on a black background.
1910-Emile Cohl makes En Route the first paper cutout animation. This technique saves time
by not having to redraw each new cell, only reposition the paper
1911-Winsor McCay produced an animation sequence using his comic strip character "Little
Nemo."
1913-Pat Sullivan created an American cartoon series called "Felix the Cat." J.R. Bray
devised "Colonel Heeza Liar," and Sidney Smith created "Old Doc Yak."
1914-John R Bray applies for a patent on numerous techniques for animation. One of the
most revolutionary being the process of printing the backgrounds of the animation

1914-Earl Hurd applies for a patent for the technique of drawing the animated portion of an
animation on a clear celluloid sheet and later photographing it with its matching background.
(Cel animation)
1914-Winsor McCay produced a cartoon called "Gertie, The Trained Dinosaur" which
amazingly consisted of 10,000 drawings
1917-The International Feature Syndicate released many titles including "Silk Hat
Harry"Bringing Up Father", and "Krazy Kat".
1923-Walt Disney extended Max Fleischer's technique of combining live action with cartoon
characters in the film "Alice's Wonderland".
1926-The first feature-length animated film called "El Apostol" is created in Argentina.
1927-Warner Brothers released "The Jazz Singer" which introduced combined sound and
images
1928-Walt Disney created the first cartoon with synchronized sound called "Steam Boat
Willy".
1930-The King of Jazz is produced by Universal. In it is a short animated sequence done by

Walter Lantz. It is the first animation done with the two strip techni color process
1934-Urb Irwek creates a multi-plane camera. This camera is capable of filming several
separate layers of cels giving the final frame a truly three dimensional look.
1943-John and James Whitney produced "Five Abstract Film Exercises."
1945-Harry Smith produced animation by drawing directly onto film.
1957-John Whitney used 17 Bodine motors, 8 Selsyns, 9 different gear units and 5 ball
integrators to create analog computer graphics
1961-John Whitney used differential gear mechanisms to create film and television title
sequences
1963-Ivan Sutherland and SKETCHPAD at MIT/Lincoln Labs
1964-Ken Knowlton, working at Bell Laboratories, started developing computer techniques

for producing animated movies.
1972-University of Utah, Fred Parke creates first computer generated facial animation.
1974-National Research Council of Canada releases Hunger/La Faim directed by Peter

Foldes and featuring Burtnyk and Wein interactive keyframing techniques.
1982-Tron, MAGI, movie with CG premise

1983-Bill Reeves at Lucasfilm publishes techniques for modeling particle systems. "Demo" is
Star Trek II: The Wrath of Kahn. The paper also promotes motion blur.
1984-The Last Starfighter, CG is used in place of models
1984-Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha
channel.
1985-Girard and Maciejewski at OSU publish a paper describing the use of inverse
kinematics and dynamics for animation.
1985-Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied
this technique to add realism to character animations.
1987-John Lasseter at Pixar publishes a paper describing traditional animation principles.

"Demos" are Andre and Wally B and Luxo Jr.
1987-Craig Reynolds then at Symbolics (now at Dreamworks SKG) publishes a paper on

self-organizing behavior for groups.
1988-Willow uses morphing in live action film
1992-Beier and Neely, at SGI and PDI respectively publish an algorithm where line
correspondences guide morphing between 2D images
1993-Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs.
1993-Jurassic Park use of CG for realistic living creatures
1995-Toy Story first full-length 3D CG feature film
12 Principles of Animation
From the "Illusion of Life" by Frank Thomas & Ollie Johnston-(pp.47-69)
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash
and stretch is useful in animating dialogue and doing facial expressions. How extreme the use
of squash and stretch is, depends on what is required in animating the scene. Usually it's
broader in a short style of picture and subtler in a feature. It is used in all forms of character
animation from a bouncing ball to the body weight of a person walking.
2. ANTICIPATION

This movement prepares the audience for a major action the character is about to perform,
such as, starting to run, jump or change expression. A backwards motion occurs before the
forward action is executed. The backward motion is the anticipation. A comic effect can be
done by not using anticipation after a series of gags that used anticipation. Almost all real
action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing.
Feature animation is often less broad than short animation unless a scene requires it to
develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or
idea of the character as it relates to the story and continuity of the story line. The effective use
of long, medium, or close up shots, as well as camera angles also helps in telling the story.
There is a limited amount of time in a film, so each sequence, scene and frame of film must
relate to the overall story. Staging directs the audience's attention to the story or idea being
told. Care must be taken in background design so it isn't obscuring the animation or
competing with it due to excess detail behind the animation. Background and animation
should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end
of a scene. You can lose size, volume, and proportions with this method, but it does have
spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more
planned out and charted with key drawings done at intervals throughout the scene. Size,
volumes, and proportions are controlled better this way, as is the action. Many scenes use a
bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main
mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a
long tail (these follow the path of action). Nothing stops all at once. This is follow through.
Overlapping action is when the character changes direction while his clothes or hair
continues forward. The character is going in a new direction, to be followed, a number of
frames later, by his clothes in the new direction.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and
more drawings near the next pose. Fewer drawings make the action faster and more drawings
make the action slower. Slow-ins and slow-outs soften the action, making it more life-like.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an
arc or slightly circular path. This is especially true of the human figure and the action of

animals. Arcs give animation a more natural action and better flow. All arm movement, head
turns and even eye movements are executed on arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character
animation, supplementing and/or re-enforcing the main action.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial
and error method in refining technique. The basics are: more drawings between poses slow
and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow
and fast timing within a scene adds texture and interest to the movement. Most animation is
done on twos (one drawing photographed on two frames of film) or on ones (one drawing
photographed on each frame of film). Twos are used most of the time, and ones are used
during camera moves such as trucks, pans and occasionally for subtle and quick dialogue
animation. Also, there is timing in the acting of a character to establish mood, emotion, and
reaction to another character or to a situation.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the
time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. In
feature animation, a character must move more broadly to look natural. Exaggeration in a
walk or an eye movement or even a head turn gives more appeal.
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three
dimensions apply to animation as it does to academic drawing. These are transformed into
color and movement giving the characters the illusion of three-and four-dimensional life.
Three dimensional is movement in space. The fourth dimension is movement in time.
12. APPEAL
An animated character has appeal. Appealing animation does not mean just being cute and
cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute.
Appeal, as you will use it, includes an easy to read design, clear drawing, and personality
development that will capture and involve the audience¹s interest.
Challenges for Animation Industry:
1. Embraced new technology
2. Retain production

3. Struggle with recruitment of key technical, creative and production personnel
worldwide shortage of talent with expertise in animation
Series production involving 2D digital techniques (like Cel Action and Flash) is currently
flourishing.
Animation across the Globe
Every country has lent its own flavor to animation through the years. The style is unique to
each region, influenced mostly by the cultural and political atmosphere of each place. Below
is a look at the evolution of animation in each region:
North America-USA, Canada
Western Europe-Germany, France, Italy, UK
Eastern Europe-Poland, Hungary, Bulgaria, Estonia, Yugoslavia, Czechoslovakia
Asia -Japan, China, India, Korea, Philippines
Pacific-Australia, New Zealand
Report on the Indian Animation Market
By Indiapressagency.com on July 27, 2006

“According to NASSCOM estimates, the global animation industry is expected to touch
$80 billion by 2010 and the Indian digital animation industry will be close to $900
million by 2010, out of which exports account for over 70 per cent of revenues.”
1. Animation is regarded as a part of the creative or content industry as artistic or

creative effort is essential to the process of developing animation.
2. The segment has the potential for job creation through the generation and exploitation
of intellectual property.
3. According to NASSCOM study, the forces that are shaping the development of the
animation industry in India include technical manpower to meet the 2-D and 3-D
animation requirements, lower costs of animation production, the expected
demand from domestic Indian television channels and the formation of domestic
animation studios and training centres.
4. Animation solutions are also finding a place in niches such as film titling, special
effects, Web entertainment programs, TV broadcast graphics, 3D modeling and
background development. In each of these areas the extent or scopes of services for
an animation production company include offering services in animation production
services, Co-production and content creation.
5. India today has more than 200 animation, 40 VFX and 35 Game Development
studios.(Acc. To Industry Reports)
6. According to industry sources, the business volume of animation industry in India
would be making an annual turnover of US $ 950 million by the year 2009-10.
India: The Animation Hub
Although India is lagging behind the world in terms of productivity in the Animation and the
Gaming sector, India in recent years is slowly and gradually trying to positioning itself as a
significant provider of animation production services.
There are a number of factors which can act as India's strengths and help it get an edge in the
international market:
1. A vast base of English speaking manpower

2. Excellent creative talent
3. Presence of animation studios
4. Low cost of animation services
5. India’s large entertainment sector
6. Heritage of traditional literature
7. Studios that are well equipped
ANIMATION STUDIOS IN INDIA

The animation market in India today is characterized by the presence of multiple
players including Crest Communications, Films Division Maya Entertainment,
Silvertoon Studio, Zee Institute of Creative Arts (ZICA), Color Chips, Heart
Animation, Ocean Park, Padmalaya Telefilms, Toonz Animation, DQ & others like
Big Animation are newly added ones. These companies are spread across cities such
as Mumbai, Pune, Chennai, Bangalore and Hyderabad.
ANIMATION FEATURE FILMS IN INDIA
S.N. NAME LANGUAG TYPE RELEASED ON.

E
1. RAMAYANA ENG./HINDI 2D 1992
2. SINDBAD ENG. 3D 2000
3. ALIBABA ENG. 3D 2002
4. SON OF ALIBABA ENG. 3D 2003
5. GULLIVERS TRAVEL ENG. 3D 2005
6. LEGEND OF BUDDHA ENG./HINDI 2D 2004
7. HANUMAN 1 HINDI 2D 2005
8. BAL GANESH HINDI 3D 2006
9. MY FRIEND GANESHA HINDI LIVE-3D 2007
10. KRISHNA HINDI 3D 2007
11. HANUMAN 2 HINDI 2D 2007
12. GHATOTKACH HINDI 2D 2008
13. DASHAVTAR HINDI 2D FLASH 2008

COMPANY PROFILE
Type Private Conglomerate
Founded 1966 as Reliance Commercial Corporation
Headquarters Mumbai, Maharashtra, India
Key people Anil Ambani, Chairman
Industry Energy, Telecommunications, Finance, Media & Entertainment
Products Electricity, Wireless services, Bonds, Movies
Website http://www.relianceadagroup.com/
Reliance Anil Dhirubhai Ambani Group is a group of companies headed by Anil Ambani.
The companies under the group are:
• Reliance Capital
• Reliance Communications
• Reliance Energy
• Reliance Power
• Reliance Health
• Reliance Entertainment
o Big Animation
o Adlabs Films
o BIG92.7FM
o Reliance Big Entertainment
o Zapak
o BigFlicks
o Bigadda
o Big Motion Pictures
o Jump Games
o Big Music & Home Entertainment
• Tech Reliance
• DA-IICT
It has 8 million shareholders, making it one of the world's most widely held stock.

“Think Big, Think Fast, Think Ahead.
Ideas Are No One’s Monopoly”
Dhirubhai H. Ambani
Big Animation, a venture of Reliance ADA Group with Mr. Ashish S.Kulkarni as its
C.E.O, is a technologically superior digital animation content creation company. It’s
State-of-art; high-end digital animation studio in Pune creates next-generation animation
for theatre, television, direct-to-home and other platforms. Company’s core business
commitment is to create feature films for international and domestic markets. Its team excels
in producing world-class, award-winning digital animation shows by blending technology
and creativity. Big Animation aims to create content for the entire audio-visual spectrum and
keep the global audience informed and entertained. The studio has been planned after careful
benchmarking and evolved CG production pipelines aimed at creating animated
entertainment products to be released nationally and internationally. Apart from latest
technology, the company has approximately 600 human asset’s working for the
organization.
BIG Animation, short film ‘The Bad Egg’ won the TBS Digicon 6+2 Awards (pan Asian
CG competition) in Japan l July,06 and was also nominated at Ficci- BAF 2006, 24 FPS
006 & Anifest 2006, further took a pride of place by winning the World Gold Medal at New
York Festivals 2007 International Film & Video Competition.
Big Animation is also the winner of Golden Cursor Animation

Awards for Best Animation Sound Effects, Best Visual Effects in
Animation Films, Best 3D Animation – Hey Krishna
Big Animation offers the entire range of services for animation production like layout,
cleanup, animation, background, in-betweening, scanning, ink and paint, compositing, and
editing. It also provides pre-production services including key animation, key background,
character design, color models, and key layouts.

Persons Interviewed During Internship
1. Mr. Shambhoo S.Phalke V.P.- Feature Films
2. Mr. Vikas Verma Line Producer-Feature Films
3. Mr. Vikram Veturi &
Vincent Edwards Directors

4. Mr. Asit Das Storyboarding Lead
5. Mr. Phaneendra M Assistant Director
6. Mr. Vinayak Kurne Art Director
7. Mr. Prabuddha Perdeshi Art Director
8. Mr. Praveen Tegala Asst. Line Producer
9. Mr. Parmanandam T Sr. Production Manager
10. Mr. Satyanarayan V.V Line Testing lead
11. Mr. Vishwajit R. Chavan Sr. Manager H.R
12. Mrs. Priyanka Kulkarni Manager H.R
13. Mr. Nagesh D Lipsync Lead
14. Mr. Neelkiran L Light & Shadow Lead
15. Mr. Suresh Kannan SFX Lead
16. Mr. Dipson Compositing Lead
17. Chandrababu &
Mohd.Sheikh Editors
18. Mr. Sandeep Waghle Production executive
19. Mr. Chandrakant Sagar Production executive
20. Mr. Kiran Reddy M Production executive

Flash Animation
A Flash animation or Flash cartoon is an animated film which is created using Adobe Flash
animation software and often distributed in the .swf file format. It can be created in Flash or
with other programs capable of writing .swf files. The term Flash animation not only refers to
the file format but to a certain kind of movement and visual style which, in many circles, is
seen as simplistic or unpolished. However, with dozens of Flash animated television series,
countless more Flash animated television commercials, and award-winning online shorts in
circulation, Flash animation is enjoying a renaissance. Flash animation production is
enjoying considerable popularity in major animation studios around the world, as animators
take advantage of the software's ability to organize a large number of assets (such as
characters, scenes, movements, and props) for later re-use.
Animating in Flash can be fun, and can be as easy as just a few clicks.
In Flash, animation can be done in four basic ways:
• Motion Tween
• Shape Tween
• Frame-by-Frame Animation
• Guided Motion Tween

Production Pipeline
A sequence of functional units ("stages") which performs a task in several steps, like an
assembly line in a factory. Each functional unit takes inputs and produces outputs which are
stored in its output buffer. One stage's output buffer is the next stage's input buffer. This
arrangement allows all the stages to work in parallel thus giving greater throughput than if
each input had to pass through the whole pipeline before the next input could enter.

Flash – 2D Feature Film Pipe Line
PRE-PRODUCTION

PRODUCTION

POST-PRODUCTION

----Scripting
This stage is probably the most important stage of any film production. Without a good script,
a project is destined to fall flat, no matter how flashy or clever it may be in other aspects.
Animated films in particular rely more heavily on the visual scripting at this stage where as a
live action film would be more concerned with dialogue.
----Storyboard
At this stage, the actions dictated in the script are visualized graphically. A lot of changes take
place during this early stage before getting too far into the production to correct anything
easily.
----Designs
Every character, background and prop from the script must be assigned a visual
interpretation. At this stage they are by no means final however. A few preliminary character
sketches later turn into character ‘model’ sheets portraying the character from every angle and
in a number of different ‘action’ poses, adding an element of life to the initial sketches. These
model sheets make it easier for the team of animators to be consistent with regards to the
character’s appearance.
----Animatic
An animatic is basically a filmed version of the storyboard which has been edited to give an
impression of the final cut film. It serves as an excellent test of not only the script, but also
the timing, action planning and soundtrack of the animation prior to starting the costly
process of final production. This is the stage where the director will make most changes.
----Animation Layout
This step is used in setting up extremes for character to be used by the key animator. It
conveys different information to the storyboard as it gives you an idea of the action required
in the sequence of motion and shows the most extreme character poses in the sequence.
----Pencil Tests
After the animatic is approved and all animation layouts completed, work is passed on to the
animators to begin this two-stage process. The first stage involves a key animator who must
first decide which method of animation he or she will be using.

There are 3 key methods,
1. STRAIGHT AHEAD
It is basically the idea that you just start drawing and see what happens. It is a natural
progression from frame to frame without much forward planning.
Advantages:
- Produces a natural flow of spontaneous action
- It’s very creative to ‘go with the flow’ taking all the action as it comes along
Disadvantages:
- Time stretches and it is an expensive way to work
- Characters may unexpectedly grow and shrink
- The director can’t see what’s happening
- There is a lot of clean up afterwards and so the process is hard to assist

2. POSE TO POSE
In this approach, one first decides the most important drawings, or the story telling drawings,
then puts them in. Then one must put in the extremes or contact positions and any other
important poses. Then it is a case of working out the nicest transition between two poses,
known as the breakdown or passing poses.
It is also advisable to make clear charts to ease in and out of positions and add any finishing
touches or indications for the assistant before any in-betweens are created.
‘Bad in-betweens will kill the finest animation.’
Advantages:
- Clarity
- It is a structured, calculated and logical way of working
- Produces nice drawings and clearly readable positions
- It’s in order - the right things happen at the right time, in the right place
Disadvantages:
- Misses the ‘flow’ of animation
- The action can be choppy and unnatural

3. COMBINATION OF STRAIGHT AHEAD AND POSE TO POSE
This method involves first planning out what one is going to do in thumbnail sketches. Then
making big key drawings and big extremes, placing in all the important poses along the way.
This forms the structure of the animation but is only there to act as a guide for things and
places to aim at. It is then time to do several straight ahead runs on different parts. This may
mean having to revise some keys and extremes along the way. The point is to keep adding to
the detail; continually adding more runs (e.g. legs first, then body, then arms, then head, then
hair or drapery bits).
Advantages:
- Combines the structured planning of the ‘pose-to-pose’ method with the natural freedom of
the ‘straight ahead’ method
- Creates a balance between planning and spontaneity
Disadvantages:
- None
A quality animator has already given the character ‘life’ at this stage, even through just a few
keys and extremes. They want to make sure nothing is left for change when passing the work
on to the inbetweener.

The second key task during the pencil test stage is that of ‘inbetweening’. It is the
inbetweener’s job to draw the specified number of poses between the key and passing
positions created by the key animator. It is also vitally important that they are drawn at the
specified spacing. Given too much freedom, the inbetweener has the ability to completely
flatten any quality animation.
This animation can be tested along the way either by ‘flipping’ the sheets like a flick-book or
sending the frames off for printing and reviewing as a film clip.
----Clean-up
As no two animators draw exactly alike, the clean-up artist is required to make overall work
from animator to animator consistent from a design and drawing point of view. It is there job
removing some of the ‘testing’ scribbled lines that occur naturally when conveying a sense of
motion through drawing. Through doing this, they ultimately reduce every drawing to single
tidy lines. This process allows animators to be freer with their work without having to
concentrate on the tiniest of details concerning the design of the character, as these can be
corrected or picked up on during the clean-up stage. After cleaning, the drawings are then re-
shot to ensure no errors have crept in which may throw off the animation.
----Inking

After the director approves the cleaned-up animation, each drawing would traditionally be
transferred to thin sheets of acetate known as cells, and then painted by hand according to the
original designs. Using today’s methods however, drawings are digitally scanned then
coloured within a computer, cutting time and cost dramatically.
----Checking
The checker must catch any mistakes before the project enters the final stages of production.
These might include broken lines, dirt on the acetate, painting mistakes or accuracy of written
instructions for the compositor / cameraman.
----Compositing
Once the checker is satisfied, all the artwork and camera instructions are passed on to the
cameraman or the digital compositor in more modern day productions, whose job it is to
bring together all the digital elements including animation, backgrounds and special effects.
----Final Edit
Unlike with live action filming, the animation final edit isn’t very creative, in that the director
has essentially made all the timing and filmmaking decisions during the animatic stage. It
serves more as a technical compilation process. Simply slotting all the finished scenes into
the initial animatic framework and replacing the pencil tests with final prints ready for
viewing on the big screen.
CRUX OF ANIMATION PIPELINE

Planning
The Art Director works with the storyboard department to make a comic book sort of
version of the script. Here, the story is broken up into scenes and sequences and the
animation director decides and marks the time duration of each scene.
Characters are developed according to the story requirement. It has to be kept in mind that
the characters have to be such as can be animated. The layout and background department
develops the backgrounds according to the style of animation chosen for the specific
project. Different layouts for all the scenes are created in consultation with the Art
Director. The animation director prepares the X-sheet which is a very important tool in
streamlining, regulating and coordinating the works of different departments and
completing work within the scheduled time. X-sheet is a chart, which contains the way in
which the frames are arranged, specifies which frame is to be repeated how many times,
how long a specific frame is to be given ‘hold’ and so on.

Man at work
Now the work starts on Lightbox. Referring X-sheet, the key frames are drawn for all the
sequences depicting the whole action pose-to-pose through pencil drawings on specially
punched papers. Line test is then done to see whether the actions are coming out properly
or not and deciding on what is to be done to increase the impact more. After the line test is
satisfactory and necessary changes are made, in-betweens of the key frames are drawn.
In-betweens make the action smoother by removing the jarring jerks. To sync dialogues with
the mouth movement and face expression of the characters, a bar sheet is made. Bar sheet
contains the readings of dialogues and expression sounds. Lip sync done by the animator
ensures that the dialogues seem to be really being delivered by the characters. To bring out a
realistic effect, the animator combines proper lip movements with expressions and complete
body language of the characters.
The special effects animator takes care of the special effects elements like fire, waterfall,
different kinds of smoke, lightning and also the light & shade effect of the characters. All
this work is transferred to the computer through scanning, for further process.
Winding up
After all the work is transferred to the computer, the digital ink & paint department starts
working on the project. All the frames are colored using software’s specially developed for
this purpose. All the work is then compiled and proper compositing done to give it a
somewhat complete form.
Editing ensures that no unnecessary bit remains to ruin the overall effect, and every scene is
in its proper sequence for the perfect duration of time.
Sound effects and background music is added at this stage. Sound effects and background
music improve the overall impact of the actions to a great extent and is an invaluable asset
for any animated sequence.

Outputting, that is, converting the work to PAL or NTSC format, makes the whole
animated work ready for broadcasting or screening. Quality animation requires well-
coordinated group effort, loads of patience and creativity.
To be a good animator one should have creativity, patience, persistence and should be a
good team player.
Human Resource Management @
Four broad categories in animation industry where human resource caters the need.
1. Pre-Production
2. Production
3. Post Production
4. Administrative
Pre-Production
This consists of the creative team which includes Creative directors, art directors, character
and art designers, script writers, prop designers, color key artists, storyboard artists, sound

breakdown engineers, technical directors, production directors, senior animators, chiefs of
computer graphics, model animation and camera, music directors and studio managers. More
people may be involved in this process depending on specific needs
Production
This consists of the hands-on team. Members that are added to the pre-production team
include Junior animators, assistant key animators, cleanup artists, breakdown artists, in
betweeners, line testing assistants, production controllers, graphic designers, render and
transfer assistants, model animators, model makers, mould makers, senior and junior
programmers, ink and paint artists, compositors, checkers, scanning assistants, visual effects
directors, background artists, set creators, computer model makers, riggers, computer
animators, computer imaging directors, light-men, assistant cameramen, trainees, helpers etc.
Almost everyone involved in the actual creation of the project is part of this team.
Post Production
Post-production consists of all activities that take place after the product comes through the
production department. This includes music recording, editing, addition of extra special
effects, conversion to various delivery formats and specifications. Certain key personnel are
required for this category. Creative directors, music directors and their assistants, off-line and
on-line editors and their assistants, machine operators and scheduling executives to aid the
studio managers and effects directors.
Administrative
This team consists of the suits that run the studio. From the chief executive to the managers,
all administrative staff falls under this category. It would be interesting to note here that
running an animation studio is quite a different experience from running a similar facility
with a few hundred people. Creative arts require a knowledgeable head of operations and a
flexible financial officer. Artists cannot be termed workers if high standards have to be
maintained because they are the real assets of the studio.
The process starts from the Manpower Requisition Form signed by Head of Department and
then submitted to the H.R Department
Now the recruitment, selection and training process starts.
For recruitments any of the 3 steps are taken:
1. From data base
2. From employee reference, and
3. From consultant
For selections:

1. C.V. is been shortlisted and send to the concerned department, after approval the
candidate is been called for the interview
2. For the production department candidates need to give a technical evaluation test
which needs to be evaluated from the technical head of the department.
3. Finally as per the results of test candidate is selected / rejected as the case may be.
Steps taken for stress management & maintaining work-life balance:
1. BIG on Health :- every day 1hr.yoga session
2. Fun @ Work : - organizing various events and activities within and outside
the studio to inculcate sense of belongingness among the artists.
3. Artists are always encouraged and supported to enhance their creative skill through
various workshops & training sessions
Performance Management
1. Artists career growth are charted through:
a. KPI-Key Performance Indicators
b. Ratings scale for quality/quantity output.
c. Competency ratings
d. Project Completion Bonus for sequence directors & team leaders.
2. Overall Performance Summary are made to evaluate employee appraisal and

promotion.
Performance Management System & Human Resource Management System

(HRMS) is used digitally to get updated with the Management Information
System (MIS
Management Information System (MIS) @
Management Information System (MIS) is a subset of the overall internal controls of a

business covering the application of people, documents, technologies, and procedures by
management accountants to solving business problems such as costing a product, service or a
business-wide strategy.

'MIS' is a planned system of collecting, processing, storing and disseminating data in the
form of information needed to carry out the functions of management.
There are many forms of report prepared for the production tracking & all the production
trackings are maintained in MS Exel.
The Database is eventually programmed in JAVA ASP & SQL Backend, enabling SECURED
internet as well as intranet access of the whole production process.
All files in the SERVER are interlinked, so any changes done in any of the one files, reflects
automatically in the other one.
MIS is getting generated with the help of all production executives who daily punch in the
updates of the data.
Some important reports which are taken into consideration while preparing MIS:
1. Artist Output Report
It is evaluated on a monthly basis which automatically gives the result for weekly &
daily output. Depending upon their daily average per second outputs the artists are
given Red, Blue and Green ratings.
2. Projection Report
Gives the numerical interpretation of the time lag, project completion etc.
3. Production Summary Report
4. Sequence Directors Health Chart
It helps in team spirit.
5. Daily MIS Report i.e. Department wise.
It involves; Beat No.
Scene No.
Seconds

Frames
Type- Normal, Medium, Complex
Artist Name-who does the scene
Starting date
Ending/Deadline date
Submitted On
Approved On
Status- Approved, In Approval, DFU, AWC, Inter Approval,
In Production
Team Lead
Sequence Director
And other necessary aspects which are need for final output record as well as remarks
and comments given.
The best performer within the tem is encouraged every month which results in
motivation and also creates healthy competitive environment.
Commonly used Technology in Producing Animation Movie

Software’s used for 2D & 3D animation:
1. Adobe
Photoshop, After Effects, Premiere, Flash
2. ToonBoom
Studio, Digital Pro, Storyboard, Harmony

3. US Animation - cel animation
4. Smoke - editing system
5. Shake – compositing
6. RealFlow - water modeling
7. Maya – animation
8. RealFlow
Simulation of fluids, fibres and particles
9. Media Composer, frequently referred to as "The Avid"
10. Animo
Animation software
11. Sony Vegas
Non-linear editing system
Animation Pipeline – Planning & Maintenance
The world of animations, which offers entertainment as a form of visual art, has evolved into
a character-based business with the potential to expand its business base through offering
digital content to media such as the Internet and mobile phones.
Yet, the future of the Indian animation industry is necessarily bright. Competition as such has
not yet evolved much since its only a beginning.

In order to address the various problems surrounding the industry, and to establish a system
of providing numerous animated works to children around the world, animation businesses
themselves must acknowledge the necessity for improving their management and business
approach, and work toward helping themselves. In turn, it is essential that the national, and
municipal authorities come up with support measures, in their own capacities and roles, for
those aspects that cannot be resolved through self-help efforts alone.
Current problems of the animation industry have been analyzed , and hereby four strategies
are proposed to develop comprehensive measures under the partnership of the public and
private sectors.
[Current Status]
 India has the world's largest Film Industry where more than 700 feature films and 100
documentaries are produced each year.
 The Indian animation industry today stands at Rs 12 billion, and the market is
projected to grow to Rs 42 billion by 2009 including the production of animated TV
shows / movies, sales of video titles, and sales of merchandize featuring animation
characters.
 India today has more than 200 animation, 40 VFX and 35 Game Development
studios.(Acc. To Industry Reports)
[Problems]
 The industry lacks the structure for developing creators, IT technicians and other
human resources including the creative talent pool.
 India falls behind other countries in the development of financial systems for
financing the production of animated TV shows and movies.
 Piracy & Copyright situations have created complicated business practices that hinder
business development.
 The industry suffers the absence of funds and producers capable of producing major
works on the international level, and the underdevelopment of systems for supporting
joint international projects.
[Four Strategies]
1. Development of quality human resources

a. Establishing animation departments at universities and postgraduate schools
b. Cultivating animation creators, etc., par excellence
c. Developing animation-related libraries (permanent exhibition space)

2. Promotion of digitalization
a. Utilizing government loans
b. Developing broadband networks
c. Making joint use of digital editing studios
3. Redevelopment of the animation business
a. Establishing a copyright management organization
b. Expanding the intellectual property & copyright business
c. Building a system for gaining production funds
4. Enhancement of international competitiveness
a. Developing bases for information dissemination / reception
b. Building an industry organization
c. Promoting international joint productions
d. Promotion of international business exchanges
Public and private sector organizations must have their roles clearly assigned, and work
together in coordination and cooperation for a comprehensive approach toward solving
industry-related issues.
Industry centric functions include:

1. Cultivating human resources (as a training center)
2. Supporting new ventures (as a debut venue)
3. Strengthening international competitiveness (as a business support center)
4. Providing the venue for learning and exchange (as a Kids animation museum)
Challenges for a Digital Studio
• Increasing complexity of projects and types of data that need to be handled

• High definition, stereoscopy, film and so on
• Stiff client deadlines
• Data must be available constantly for non-stop work
• Stringent client requirements for maintaining data back-up and security
• Longer archived time
• Content reuse is key to delivering projects on time
Challenges at Management Level

One of the biggest challenges faced by the growing company is the ability to share files
digitally. This created issues with managing versions of work in progress, and printing and
scanning within the company’s mixed platform environment.
Stage Wise Planning Process
The process for producing animation has the following stages:

1. Idea, brief, treatment, script, production planning.
2. Concept Design
3. Storyboarding
4. Production Design and Visual Development
5. Recording the Dialogue
6. Building the Models, Rigging
7. Layouts and Animatics
8. Animation
9. Final Backgrounds and Colouring
10. Lighting and Compositing
11. Post Production
Idea, brief, treatment, script, production planning.
This is the pre-production phase. First, have your idea or get commissioned with a brief. Then
produce a written treatment to sell the project, write a script, do an outline budget, pitch the
concept and - get a go-ahead (aka The Green Light). Now you can finalize the budget and
schedule and start putting your crew together.
Concept Design
Concept Design often starts during the pre-production phase. This is the first stage of design,
doing preliminary work to illustrate both the narrative and possible visual treatment of the
project, a time to experiment with characterization and style.
Storyboarding
The Director works closely with the Storyboard Artist(s)

to visualize the script and tell the story. The Storyboard
illustrates the narrative, composes the shots,
demonstrates action, indicates camera moves and
maintains continuity. The storyboard is revised and
updated to reflect changes to the script or comments
from Director, Producer or Client. The more defined the final storyboard, the smoother
the rest of the production process should be. Storyboard panels may be shot and edited to a
preliminary guide track which can be called a story reel or animatics. This can become a
working reel into which layouts and line tests can be cut as they are completed.
Story boarding is made in 3 stages
1. Thumbnail-script is drawn or visual description of story
2. Clean up team-proper B.G and character on model

3. Final story board
It serves as a tool to cost reduction techniques.
Production Design and Visual Development
The Production Designer and/or Art Director develops the style of the production and
produce the final designs for both characters and environments.
For 2D, model sheets and turnarounds of characters together with key backgrounds are
produced;
For Stop Frame, characters and sets are designed;
For CG, designs for characters, environments and special effects are be produced.
Recording the Dialogue
The Producer and Director casts the voices and the Director supervise the recording session,
usually attended by the Editor. Often, all the actors assemble and the script is recorded in one
or more sessions. However, producers work in various ways and there can be many good
reasons for recording all the actors individually and assembling the dialogue track afterwards.
A dialogue track is edited before animation starts and, if it involves character lip synch, those
voices will be pre-recorded to a final production standard. If possible, actors like to see a
storyboard and designs of the character whose voice they are providing and it can be very
helpful to their performance. Voice over guide tracks will be needed for timing but can be
rough recordings which will be replaced at a later stage. If it is necessary to animate to a song
or music track, it is important for the composer to provide an accurate demo.
The Editor will assemble the selected takes and produce a soundtrack to length for approval
by the Director before the track breakdown is done.
Already a library set of 13 mouths is made and it is used for the purpose of lip
synchronization.
To escape from work and time pressure a dummy file is been

prepared of lip synchrosination for animation file at some
extent similar. When the animation file gets approved till that
time this dept. would have already finished the work and they
paste that file to the approved animation file. Then they send
it for director approval where if they get any corrections they
work on it.
Especially for the process of voice recording many a time’s celebrities or prominent
voices are hired to increase the market value of the movie.

Building the Models, Rigging
From the approved designs, Modellers translate the

drawings and build the models of characters and
environments in Flash. Before these models can be
animated, Riggers breakdown these characters into
various symbols like head, hand, eyes, eyebrow, legs,
feet, etc, this rigging controls the movement of that
particular part of the body, and thus the entire character
can be moved convincingly exactly like a real human
being on the screen.
In Stop Frame, the Model Making Department uses the approved designs to build models,
puppets and sets.
Layouts and Animatics
The first pass at timing is done with the story reel or

animatics; in Stop Frame this is likely to become the
working reel that is without layouts. Layouts in 2D &
CG are different processes but, in both techniques, the
purpose of layouts is to stage every scene and camera set
up.
Layouts are produced based on the storyboard and

previously approved design material to provide scene
planning, camera movements, visual information about character action and backgrounds.
On larger CG projects there are often be two phases of layout, Rough and Final.
Animation
Animation starts when there are approved layouts (if applicable), designs or models, voice
track and timings for the Animator to work with. The Director or Animation Director assigns
scenes to Animators who produce the images which, when recorded in sequence, create the
illusion of movement. Depending on the project and technique, there can be a single
Animator working alone or a large team in which there may be a range of talents and skills
from lead animator down to junior assistant. The Director approves the animation or, on a
larger project, this may be done by the Animation Director or Supervisor.

Final Backgrounds and Colouring
In 2D, the final colour backgrounds can be produced

from the approved layouts onwards. They reflect the
production designs and are supervised by the Art
Director. In Stop Frame, the sets have to be built before
animation can start. In CG, the basic environments are
built by modellers before the animation starts but Set
Dressing and Lighting are done at a later stage.
In 2D, paper animation is usually scanned and sometimes cleaned up within the computer
before being coloured digitally using one of several software packages. Depending on the
style involved, some animation is still produced as artwork that is coloured by hand.
Lighting and Compositing
Light and shadow is a very crucial stage in the creative

process of the animation, dictating the final colour and
atmosphere of each shot. The work process starts at the
stage level itself,1st render is given for every scene then
the shadow reference is created for every individual
scene: 1st frame. After this the shadow key is send for
directors approval. If the animation file has lipsync in it
then it need to go to the lipsync dpt 1st and den to the
shadow dpt. And if animation file dosent have lipsync it
directly goes to light and shadow
The formula for shadow is --- Alfa 15 % black and rest is skin tone
Or we can say that 15% transparency is maintained.
2 kinds of shadow - normal shadow & deeper shadow
In deeper shadow another 15% black layer is put on the previous shadow layer.
Only black is used for shadow and rest all is done at compositing level.
Person in this department needs to examine the light source which is already done in
animatics.
When the rendering is been done for the shadow approved file, the transparency is been
removed and the character animation is made 100 % black
Shadows can be normal, medium and complex as well

Special Effects (SFX) is the process where science is applied upto great extent. There could
be the following kinds of effects: Dust, water, fire, smoke, clouds etc.
These effects are further broken into sub categories, for example the water could be of a deep
water body like an ocean, or it could be just a splash. Fire could be of various kinds like, fire
on the wood, on oil etc. Different techniques are implemented to achieve desired results and
the final look and feel.
FX is a science and physics is applied to it.
Design, colour scheme, style etc must be well defined
Templates must be always ready to make the process go on smoothly.
Working on the SFX is a very tedious tasks and requires not only the high level artistic
skills but also a good knowledge of the hardware and software capabilities and their
limitations.
Compositing
Compositing can apply to all techniques of animation and is the point at which various visual
elements including animation, backgrounds and effects are combined into the final image. It
is a very necessary part of the production pipeline where all hook ups, corrections are
matched up and end results come in. The final composited frames are sent to editing where
the final trimming or audio video timing adjustments are done.
Editing
At the editing level a negative is required for the feature film. When the file is been send
from compositing then the line up for all the files acc. to animatics
Is made to make a new composited file. The final trimming or editing is been done on that
lined up files. After the trimming is over, film gets in with the dialogue
Then the file is given to the music director to score the music or for re-recording & along
with it one copy is given to the SFX department. Once it’s all gets finished off, the final mix
track goes to laboratory to be developed as a sound negative and as well as in all other
formats like DTS, Dolby etc. After this the system files i.e. compositing files are given to lab
for colour corrections etc. And when the movie is confirmed, they refer it with edit and den
DI-negative is made. Finally it all gets mixed up and they make a married print i.e. picture
negative and sound negative copy
Post-Production
During the post production phase music is recorded, sound effects added and the soundtrack
finalized. The digital picture is combined with the completed soundtrack as an Edit Master
and can then be output either at broadcast standard or onto film, depending on the delivery
requirements.

LEVELS OF PRODUCTIVITY MANAGEMENT
ity
“Productivity Does Not Go Hand In Hand with Quantity”

VISION
STRATEGY
PLANNING
EXECUTION
Process & System Criteria
It is a two & fro process from the part of line producer to animation director and vice versa.
PROCESS QUALITY/
MONITORING/ PRODUCTION
CREATIVE
PRODUCTION APPROVALS

The 2 stage checking process where approval has to be taken from sequence director &
animation director ensures filtration and continuous value addition to the product.
Animation is All About Skills
Animation is a sector in which there is great potential for creativity and innovation, although
some people find it difficult to adapt to fast paced production environments.
Key skills for animators include:
• Creativity and imagination

• Patience and attention to detail
• Drawing skills
• Computer literacy and familiarity with graphics software
• Communication and presentation skills
• Ability to meet deadlines and work as part of a team
Getting the House in Order
Sector specific issues depending on the nature and extent of evolution fall under the
following four categories:
1. Structural issues, including issues relating to distribution of value amongst value chain
participants, extent of competition and level playing field.
2. Resource related issues with regards to the industry's difficulties in attracting resources
like investment, talent, etc.

In order to effectively manage the 'growing up' process, the industry needs to question and
review its current structure and several aspects of the operating strategy.
Studio must look upon the following aspects:

• Exposure provided to a multi-disciplinary environment.
• Importance given to extra-curricular activities
• Whether multi-layer thinking is encouraged
To unlock the value, the Indian animation industry would need to:
1. Develop marketable products keeping in mind the socio-economic realities of the
Indian market
2. Improve operational effectiveness through global benchmarking, adoption of practices,
technology and strategic innovation
3. Leverage the capabilities thus developed in international markets
Seventeen Key Issues That Demand Urgent Steps

The initiatives have been prioritized in the table below to identify high-impact initiatives
using a weighted average with the 'Ability to drive value' as the most influential factor.

Improve operational effectiveness

To achieve sustainable efficiencies, the priority should be on enhancing organizational
effectiveness in delivering strategy and addressing the following key aspects of effectiveness:
• Organisation structure and its alignment to operational strategy

• Streamlined processes
• Inculcating global entertainment industry best practices to enhance the process
delivery quality
• Consistent global benchmarking to facilitate continuous improvement
• Strategic use of technology
Enhanced activity in newer genres
Animation studios need to blend artist creativity with consumer tastes and preferences. In this
pursuit they need to constantly define new/ changing genres based on the demographic
profile of the market and a surveyed understanding of consumer likes. Creativity needs to be
channelized in the right direction so that its commercial attractiveness can be exploited.
Create an environment to attract and retain talent

The attractiveness of the entertainment industry as a professional option needs to be re-
established in a challenging talent market (both on the creative and the business management
side) against stiff competition from sunrise sectors.
With the intensity of market activity and the extent of competition rising, the need for
attracting and retaining top talent assumes greater significance. If the industry seeks to
continue attracting talent, it would need to undertake a number of measures that are
infrastructure building in nature and also lead to a change in mind-set.
Some of these include:

• Developing an educational infrastructure catering to the sector by
- Creating world-class institutes in India for attracting young talent, providing
training in both the creative and business aspects of the entertainment business
- Private-public partnership models should be encouraged to develop the
required infrastructure
• Improving the attractiveness of the sector by
- Benchmarking it with competing sunrise sectors in terms of remuneration
and career growth to make the sector attractive for prospective employees
- establishing an exciting and professional working environment by instituting
appropriate systems, process and organizational practices
- establishing a quantitative performance management system which sets
measurable performance targets, measures and rewards performance in a fair
manner
• Establishing a brand in the talent market by
- articulating its value proposition to professionals in terms of growth
potential, development, compensation and lifestyle
- adopting consistent communication of its value proposition at the talent
market
- this would need to be actioned through media campaigns and presence at
college campuses as well as career fairs
Regarding Animation Production, Here Are Some Good Sayings To Use In

Production Meetings:

“Speed then Clean”.
Draw quickly and rough, making sure the art will work, before concentrating on the finer
details.
“Plan Ahead Practice Behind”.

Use technology that’s older and proven. Play with new technology to get ready for what’s
around the corner.
“Animation is a House of Cards”.

Like a house of cards, when you get to the top and decide you want to change the bottom card
arrangement, the whole thing comes crashing down. The moral is each layer is final before
you move up. Otherwise, suffer the consequences.
“If Your Vision is Exploratory, Then So Will Be Your Budget”.

The only way to keep your work on a definite track is to keep your vision on one as well. You
can’t “try” this and “try” that, but still have everything done by a specific time. Be precise,
and so will be your budget.
Aladdin- an Example Of 2D Animation Film

Aladdin is a 1992 animated feature produced by Walt Disney Feature Animation, and
released by Walt Disney Pictures on November 25, 1992. The thirty-first animated feature in
the Disney animated features canon, relates a version of the story of Aladdin and the magic
lamp from The Book of One Thousand and One Nights. It was directed by John Musker and
Ron Clements, both of whom had written and directed The Little Mermaid.
Domestic Total Gross: $217,350,219

Distributor: Buena Vista
Release Date: November 13, 1992
Genre: Animation
Running Time: 1 hrs. 30 min.
Production Budget: $28 million
Production of the film Aladdin

In 1988, Howard Ashman suggested Disney make an animated musical version of Aladdin.
After writing a storyline and songs with partner Alan Menken, Ashman delivered it to
directors John Musker and Ron Clements. In 1991, the script was delivered to studio chief
Jeffrey Katzenberg, who thought the script "didn't engage", and only approved it after
rewrites from Clements, Musker and the screenwriter duo Ted Elliott and Terry Rossio.
Among the changes, the character of Aladdin's mother was removed, Princess Jasmine
became a stronger character, Aladdin's personality was reworked to be "a little rougher, like a
young Harrison Ford," and the parrot Iago, originally conceived as a "British" calm and
serious character, after the filmmakers saw Gilbert Gottfried in Beverly Hills Cop II was
turned into a comic role, voiced by Gottfried. The concept of calm, serious British bird
would later be worked into The Lion King's Zazu.
Most characters' designs were based on the work of caricaturist Al Hirschfeld. Aladdin was
drawn originally based on actor Michael J. Fox but during production it was decided that he
wasn't "appealing enough" and they decided to make him resemble actor Tom Cruise instead.
Computer animation was used to develop some features of the movie, such as the tiger
entrance of the Cave of Wonders, the magic carpet, the scene where Aladdin tries to escape
the collapsing cave, the full view of Agrabah, and the clouds in "A Whole New World".

The weakest-looking aspect of Aladdin is its computer-generated animation. With the
integration of CG within a 2D world still in its infancy in 1992, it often sticks out like a sore
thumb.
Watching this film will give animation buffs the opportunity to study and admire the fine
animation work. The film mixed a variety of animation and art styles to come up with a
unique look. Though some influence from Richard Williams’ “The Thief and the Cobbler”
(made from 1968 to the early 1990s) is apparently present, the crew of “Aladdin” borrowed
motifs from Tex Avery cartoons, Al Hirschfeld drawings, and Arabian design. The colors,
used in the film are rich and almost three-dimensional. The film has the traditional touches
many people associate with classic Disney animation. The first element is story, the story of
a young boy who wants to become somebody. The sidekick characters are another element of
Disney animation, and there are many in this film and most of them are strong
characterizations.
The strengths of this film are many and overshadow any minor gripes one might have.
Musker and Clements’ direction is solid. The animation and voice casting is nearly perfect.

It’s fun entertainment. The film is also an interesting time capsule on Robin Williams. Of
course, there’s also the top-notch artwork and music. There’s not much doom and gloom to
be found in Aladdin, as the colorful, smooth style of animation really adds a layer of detail to
the story. Character animation is pitch-perfect, and the backgrounds are even better.
Combined with the trademark Disney style of orchestral music, Aladdin is a well-rounded
effort that holds up well.
Image detail and contrast are superb, and really bring the colorful world of Aladdin to life.
Only a few minor nitpicks kept this presentation from being perfect, namely a few instances
of very mild edge enhancement and a few traces of interlacing. Otherwise, this visual
presentation is up to the high standard of Disney’s Platinum Collection.
CONCLUSION

Setting An Industry Agenda For Accelerated Growth
Though the growth prospects for the Indian film industry are quite strong, it is still
performing below its underlying potential. It is a fact that India's per capita monthly spend on
films is less than INR 4, which is extremely low for an entertainment-crazy country like ours.
Concerted efforts undertaken by the industry participants can launch the industry on an
accelerated growth path, so that it can beat the forecasts.
Some of the key drivers that can enable such accelerated growth could be:
1. Corporatization
2. Developing economies of scale
3. Organized film financing
4. Piracy and its control
5. Outsourcing to India
6. Training and Education
7. Government incentives.
Corporatization
A corporatized approach to production implies and includes the following mix of initiatives
or actions:
1. Intelligent selection of scripts which factors in an understanding of consumer
preferences and market trends
2. Project feasibility analysis for target audience preferences, box office results talent
popularity and story viability in domestic and international markets
3. Active participation and consent of each activity head at the green-lighting stage
4. Investing in equipment, technology and management information systems to bring
down costs and build in flexibility in shooting schedules
5. Control over production timelines, budgets and quality with periodic monitoring
6. Outsourcing non-critical functions to focus on the core aspects of filmmaking
Corporatization can greatly aid the industry in the following ways:

1. Imposing transparency and discipline in the film-making process
2. Higher emphasis on scripting, planning and documentation
3. Very high focus on cost-control
4. Developing an institutional memory of best practices
In these ways, it could help make the film-production process much more efficient.
Corporatization, with its accompanying emphasis on transparency, accountability and

consolidation in the various elements of film-making and distribution, can bring about an
overall improvement in enhancing the profitability of the sector.

Developing economies of scale
The film producers will have to change their mantra from 'make the costliest film of the year'
to 'make a portfolio of cost-effective films in a year'. They will have to blend films of
different genres and budget segments aimed at different markets and different audiences to
dissipate their risk profile. It is estimated that the producers can reduce their costs by 10-12
percent by:
1. Owning studio infrastructure and equipment
2. Signing long-term contracts with creative talent
3. Signing multiple contracts with distributors and exhibitors.
They can also raise their revenues by signing long-term contracts with distributors and
exhibitors. This will enable them to get a higher share of the domestic theatrical revenues and
also help in plugging leakages. On a simple estimate, a 10 percent reduction in costs in the
medium term, coupled with a 15 percent increases in revenue can more than double the
industry profits. It is expected that the combination of key drivers at play could bring the
industry closer to its optimal level of profit generation in the near future.
It is estimated that by developing a portfolio of films, it is possible to shave 10 percent off the
artist's costs, reducing it from 30 percent to around 27 percent of the overall filming cost. The
distribution costs (print and publicity) can be cut by approximately 14 percent, reducing it to
19 percent of the overall cost. The production expenses can also be similarly reduced to 30

percent of the overall filming costs, from 35 percent, while a higher budget could be allocated
for preproduction.
Organized film financing
Organized funding has significantly reduced the average financing cost in this sector.
However, institutional lending rates are still high compared to other sectors, since film
financing is perceived to be riskier. Limited or non-recourse financing, akin to project
financing, is not common. It is believed that institutional financing could bring in stipulations
like completion bonds, insurance, well-defined contracts, etc. The production houses'
willingness to accept these conditions will determine the comfort level of the financiers. Once
financiers earn reasonable returns for a sustained period, the risk-perception could change.
Then one may even see sophisticated financial structures like securitization, credit enhanced
bonds, etc being introduced into the market.
In the existing model of funding, financing is done on a project-wise basis. The bank finances
upto 50 percent of the cost of a project and retains the negative rights as collateral. The
producer brings in the rest of the money from his own sources. The bank also insists on a
completion guarantee from the producer and insurance against delay.

Piracy and its control
Initiatives to reduce piracy in the years to come, either due to digital encoding mechanisms or
better enforcement of the law, can also lead to an increase in domestic theatre viewership
revenues. In the US, a typical theatrical window spans six months, where collection amounts
to 25 percent of the total gross. In India typically 70 percent is collected over three months,
after which piracy catches up and virtually nullifies any further theatre revenue potential.
There are a large number of video rental shops across the country, many of which thrive on
pirated videos. It is difficult to estimate the combined revenues of these rental shops but the
impact it has on eroding theatrical revenues is significant.
Outsourcing to India

Apart from monetizing the direct potential of Indian filmed content globally, there are several
applications where India, due to its inherent cost advantage, can emerge as a major
competitor to other countries as a preferred outsourced destination for films.
Digital content creation
Given the fact that India has a talent pool of world-class software professionals which is
available at much lower cost compared to the West, India could have been at the forefront of
film related software and graphics production.
India is steadily growing into a major hub for cost-effective outsourcing for animation and
special effects. According to industry experts the size of the Indian visual effects industry is
currently estimated at around INR 30 billion and has grown at around 30 percent over the last
few years. According to NASSCOM, the size of the animation industry itself is INR 25
billion, while special effects and other services account for the remaining INR 5 billion.
However, India still forms an insignificant part of the global visual effects value chain. Over
the last couple of years, many new post-production studios have been set up in India, aided
by the fact that the infrastructure requirements for a medium sized visual effects studio are
not very high. Most of these establishments operate well below their true capabilities and at a
relatively low end of the value chain.
With prospects of increasing domestic and overseas business in the future, it is imperative
that the Indian post production and animation houses make the necessary investment in
technical and human capital to be globally competitive in terms of quality and creativity and
not merely on costs alone.
India is now maturing as an outsourcing destination in terms of its ability to offer end-to-end
services of the desired quality to discerning international customers.
Training and education
For the industry to reach global standards of film-making there is an urgent need to develop
and align film education to the requirements and opportunities of mainstream cinema. India
needs to develop creative and technical courses which are focused and simultaneously,
responsive to the current market environment.
For example, computer graphics, animation and special effects courses designed to match
global industry standards are needed in order to take advantage of the outsourcing potential of
the market. A professional approach will also go a long way in providing the right balance of
classroom instruction, hands-on workshops (learning-by-doing), and academic interaction
with likeminded peers, further driving the more knowledge-oriented and systematic approach
to film-making.

A good way to tackle this problem in India could be to have MFA programs in film instead of
BFA, which would allow students to get their Bachelors degree in a vocation they can fall
back on, apart from providing them with a well rounded education.
Government incentives
A wish list of concessions:

1. Complete amortization of production costs in the year of completion of the film
2. Amortization of costs of incomplete films, subject to furnishing adequate
documentation
3. Extending tax-incentives for multiplexes in metro cities
4. Tax incentives for newly set-up film ventures, with a corporate set-up and sizeable
amount of investment
5. Providing facilities and indirect tax incentives on film production, studios, etc.
6. Tax incentives for film-financing activities
7. Rationalization of entertainment tax
8. Concessions on customs duty on import of studio and other equipments and software
to promote use of superior technology in film-making.
Based on a comprehensive understanding of the industry, the interplay between its drivers
and interactions with various stakeholders, the following initiatives are recommended to be
undertaken by industry and the regulatory authorities.

References
Books

1. CULHANE, Shamus (1988): Animation: From Script to Screen. USA: St Martins
Press
2. FINCH, C (1973): The Art of Walt Disney.
3. HAHN, Don (1996): Disney’s Animation Magic. USA: Disney Press
4. THOMAS, Frank & JOHNSTON, Ollie (1981): The Illusion of Life: Disney
Animation. New York
5. WHITE, Tony (1986): The Animator’s Workbook. London: Phaidon Press Ltd.
6. WILLIAMS, Richard (2001): The Animators Survival Kit. London: Faber & Faber
Ltd.
Films
1. DISNEY, Walt (1937 - 2005): Disney’s Animated Classics. DVD: US
2. Disney’s ‘Aladdin’ (1992)
3. Disney’s ‘The Lion King’ (1994)
4. Disney’s ‘Tarzan’ (1999)
Internet
1. http://www.ultimatedisney.com
2. http://www.toonboom.com/company/animationlinks.php
3. http://blackwingdiaries.blogspot.com/
4. http:// www.skillset.org/animation/overview
5. http://www.cgtantra.com
6. http://www.idanimations.com
7. http://www.sciencenews.org/articles/20020126/bob10.asp
8. http://www.clickthecity.com/movies_article.asp?p=737
9. http://reports.siggraph.org/articles/the-legacy-of-disney-animation
10. http://www.animationmeat.com
Appendix
3. General queries regarding animation industry.

4. List of organizations working for upliftment of animation industry
Appendix 1
General Queries Regarding Animation Industry
1. What is animation?
2. How it evolved and came into existence?
3. Differentiate between its various forms & techniques?
4. What is the basic difference between 2D & 3D?
5. How different is making an animation movie rather than a live action one?
6. What scope does India posses in the field of animations?
7. Why do animation films in India tend to revolve around mythological

characters?
8. What fascinates you most about the industry?
9. What process, style and appearance you adopt while working?
10. Reveal some important measures to be taken while planning the animation
pipeline & its maintenance?
Appendix 2

Organizations
TASI - The Animation Society of India
The Animation Society of India (TASI) has been formed with a view to increase
awareness of the medium of animation in India. It aims to educate the emerging
generation and the public at large and at the same time provide a platform for the
exchange of creative and technical information within the Indian art and animation
fraternity in order to strengthen existing talent and encourage growth by educating
and guiding prospective artists in India.
NASSCOM - National Association of Software and Service Companies
NASSCOM is India’s premier trade body and the chamber of commerce of the IT
software and services industry in India, with over 1100 members, of which over 250
are global companies from the US, UK, EU, Japan and China. NASSCOM’s
member companies are in the business of software development, software services,
software products, IT-enabled/BPO services and e-commerce.
ASIFA (INDIA) - Association of International Du Film D’ Animation, India
The Association of International Du Film D’ Animation, officially called ASIFA, is

a professional body, recognized by UNESCO, devoted to developing film animation
both as an art and also as an effective means of communication. ASIFA today
enjoys a representation from over 55 countries.
ASIFA India received its official charter on November 25, 2000, and it aspires to
the same ideals and goals as the international organization. By staying true to the
spirit and upholding one of its mottos of blending art and technology, making
available invaluable knowledge and information, ASIFA India throughout the year,
arranges several free workshops, namely the CG-Meetup.

WIA (INDIA) - Women In Animation
Women In Animation is a professional, non-profit

organization established in 1994 in US to foster the
dignity, concerns and advancement of women who are
involved in any and all aspects of the art and industry of
animation. WIA is also an educational organization.
ABAI - Association of Bangalore Animation Industry
ABAI was formed by likeminded people to have an association that would regulate
the Animation business activities in Bangalore & contribute towards the greater
good of the regional animation industry. Their vision is to create a platform and
bridge the gap between, production facilities and qualified manpower and to
promote Animation, Gaming and VFX professionals and production houses in
Bangalore.

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SUMMER INTERNSHIP REPORT

“Animation Pipeline – Planning & Maintenance”

Study conducted from May 5, ‘08 to July 4, ‘08

Submitted in partial fulfillment of the requirements of

Post Graduate Diploma in Management

Company Guide: - Faculty Guide:-

Mr. Vikas Verma Mr. R.K. Singh

Line Producer GHS IMR

BIG Animation (I) Pvt. Ltd. Kanpur

Roll No. 0920

Dr. Gaur Hari Singhania Institute of Management & Research

Jaykaylon Colony, Kamla Nagar,

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

I, Shubhank Gupta, hereby submit my summer internship report, entitled

However I take the responsibility of all my shortcomings.

DATE: July, 10th,’08 Shubhank Gupta

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

7. Past, Present & Future Of Animation

8. Animation Movie Timeline

10. Report On The Indian Animation Market

11. Animation Studios In India

12. Animation Feature Films In India

13. Company Profile

14. Organization Structure

15. Company Structure

16. List Of Persons Interviewed During Internship

17. Introduction- Flash Animation

18. Production Pipeline

19. Flash-2d Feature Film Pipe Line

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

20. Crux Of Animation Pipeline

21. HRM @ BIG Animation

22. MIS @ BIG Animation

23. Commonly Used Technology In Producing Animation Movie

24. Animation Pipeline - Planning And Maintenance

25. Stage Wise Planning Process

26. Levels Of Productivity Management

27. Process & System Criteria

28. Animation Is All About Skills

29. Seventeen Key Issues That Demand Urgent Steps

30. Aladin-An Example Of 2d Animation Film

a. Setting An Industry Agenda For Accelerated Growth

1. Appendix 1 - General queries regarding animation industry.

2. Appendix 2 - List of organizations working for upliftment of animation industry

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

The project report on “ANIMATION PIPELINE – PLANNING & MAINTENANCE” is

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

Let the fun begin

Increasing content variety

A few instances of rising content diversity are:

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

The past and the future

The macro-economic environment

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

Submitted By: Shubhank Gupta; Batch 2007-2009; GHS IMR, KANPUR

LIGHTS ! CAMERA !! ANIMATION !!!