INTERVIEW
| Ashwin Parulkar has played pivotal role in creating Tv Series- Tenali Raman for CN. Ashwin spoke to Cheif Editor-Rudra Matsa, on trends in animation industry, transistion that has been taking place and finally his experience as being part of the industry, for shaping tomorrow.
EDB Tell us about your journey into the world of Indian IP, how it happened to you, I mean entering into Animation field and eventually working with ACK Media??
Ashwin - It started during my 10 year stint with Crest Animation. Around 2002-03 Crest was talking to Singapore TV 12, about creating an original animation series, for Tamil population in S'pore. The natural choice was Tenali Rama', but other challange was who will Direct the series, and surprisingly there was no takers for it, Since I was always wanting to handle larger formats , other than directing Ad films and out sourced work, The Adventures of Tenalirama I decided to Direct, and creatively produce. It was liked in Singapore,Then I moved to Adlabs films in the animation div to create original content around 2006, during two years I wrote an original feature screenplay along with two screen writers , and the script got green lit. But the film never went on floor due to some internal reasons, during
2008 August I was offered a Creative Producers Role in ACK- media, to Set up the Animation ground for the first time in Ack-mEDIA, as every one Is aware ACK was purely a Comic book company just venturing in to various other avenues EDB. Can we talk on some of your creations...??
Ashwin - prior to directing Tenalirama, I kept perusing my passion to create original stuff, by way of animated 2Dshort films based on my own concept, and I am thankful to Cres for supporting me doing it, it was a great opportunity given by ways of utilizing the artist, editing and compositing suits at my disposal, two of my short films Use me-on keeping the city clean, and Miff(mad images from the fantasy ) were shown in MIFF2000 &2002.
Tenalirama- took three years to complete- it was completely original series, for which I even visited; landscape of Hampi in Karnataka. Gini and Jony the movie- is my other creation with Adlabs the story was linked with two Brand characters; it was a unique effort to write something for existing brand characters- some kind of licensing and merchandising effort.
And now with ACK- I am exploring different ideas with the existing IP.
EDB. What exactly creative producer does??
Ashwin - Well everyone is aware of Creative Director, but this is bit different than this. Ashwin- well everyone is aware of Creative Director, but this is bit different than this. His role is to build the project, so it is a multi level function, in the initial stages of the project, he may conceive it for the producer, or he can start from the idea given by the producer,
He also works towards attaching key creative crew such as Writers, animation dir, art dir, Music director, sound engineer, production studios etc. Once the project kick starts he looks in to the creative aspects of the project, basically it is a visionary role, and else the project may lose its direction. Importantly he should also have a keen eye on the funding and budgets of the project. EDB. We would like to know pipeline development on animation inspired by ACK properties... And the details of pipeline at ACK, What are the ?properties are under development at ACK.?? Ashwin - ACK is vast treasure of stories , characters created over the span of last forty years, and it is some kind of honor to be attached with that, it was a critical path to arrive and zero down on the properties keeping in mind the 360 degree approach, the process is not finished yet it is an ongoing process, and at the moment I just want to hold it for some more time for all the eager ACK fans across the world.
About pipeline I can say we are slowly activating the required pipe line for any original content in its place, in the various areas of predevelopment, production and post works.
EDB. How did u manage to come with such a big operation like this, ?I mean finding 2D artists and pre-production experts is a tough now days.
Ashwin - Good question! But one has to be optimistic and persistent with it, I see a positive side of it. When I was Directing Tenalirama the scenario was not so good, the talent was not even worth semiskilled, but if you look around in 2009 the picture is improved, we have good BG, concept artists, animators, experienced line producers, animation directors and so on.
The recent Animation meltdown situation also helped us a lot and we are being approached by some good talent.
I am setting the tone and look of some of our long format content initially where I have to use my experience and skills, I am even Directing initial episodes so that the episode animation Dir. Can understand the tone of the series for rest of the project, it is also imparting it along with the second line of crew. It’s also more of a motivating job, and one has to set an example by leading from the front. But yes even today my observation is there are good skilled people around , and they are extremely good at doing something being asked, but that’s not enough when it is Original content space, one needs an outstanding talent which can, offer something extra on its own to the director and creative producer.
EDB. What is your strategy on producing good content in India using Indian skilled manpower??can you tell us about the process that you follow??
Ashwin - Another good question! Well everything starts with Writing of the series, Creative Producer has to work with the writers and bring them in sync with the vision idea. Then it also depends that you are in the framework of your budgets and funding.
EDB. All are making full-length Animated features now days since ?Hanuman happened, and none of the recent movies made any substantial ?Commercial success, what you think about this transition, from ?Outsourcing to IP development in India ?
Ashwin - During my stint with Adlabs I got an opportunity to observe ‘Film distribution’ business. Which could expose me to some harsh facts. In fact I am the strong supporter of this transition, but I also believe firmly that outsourcing and IP are complementary and each will give differentiation over other , a right mix in the business model will give an edge, outsoaring will give you bread and butter and can relive the studio from the long gestation scenario attached with IP.
Today it’s not about creating content but also distributing and marketing it well else the effort will go waste. Also the content needs to be of a quality, audience is very smart, and they will immediately switch to other content if they lose interest in the content.
Animation movies is a megabucks business, also its about distributing it one has to have at least 40-45% part of the budget kept aside for it, and the ground reality is Distributers don’t trust the local animated features, and no one is ready to take risk on it. About Hanuman I can say, it was Percepts multilevel marketing and distribution strategy, it was some kind of curiosity for the content from the viewer, and also the song and the acceptability of the child Hanuman character played an imp. Role If the theatrical fails on the box office then everything else suffers, your music, DVD sales and merchandising effort. Etc. EDB. What you see as the big thing that would happen in Indian animation market in next 5 yrs ?
Ashwin - My optimism is high, but I would say that serious players with some patient and methodical approach to any type of content will survive, Indian content will also improve and there will be much larger consumption on various immerging platforms. Yet that bing thing has to happen, and no one knows when. EDB. As industry leader, what is your suggestion for an aspirant keen on developing IP in India, and what should be the right strategy for making good content, like some tips and short cuts??
Ashwin - Well I am also a humble seeker of it, but I can share something with aspirants.
On a individual level it is still very difficult, but if one gets attached with like minded people then it can be lot more easy, also the people with writing skills, designing concepts , and potential ideas that are viable should keep pitching it with the prospective producers and industy forums, animation channels,GEC’s etc, also one should be flexible enough to work on somebodys ideas as well. There no real short cuts to it , and it’s a patience game, to get your idea recognized.
You should have the persistence to be with the idea for long time, also there are lot of changes may often if you are not producing it.Its about gathering the right experience also that matters.
Need to animate.
This image explains about me having both creativity and techinical skills.
It is a practical painting using photoshop. Painted completely using the software Photoshop for practical. Painting might not be a fantastic work but for me this gives more motivation for future paintings. 
And one more digital art character named Zony.
India's animation sector is witnessing a major boom. Overseas entertainment giants like Walt Disney, Imax and Sony are increasingly outsourcing cartoon characters and special effects to India. Other companies are outsourcing animation from India for commercials and computer games.
So what makes India a hub for animation? Why is the sector experiencing exponential growth? In this special series, we take a look at what makes India shine in the world of animation.
A full-fledged feature film called Tommy and Oscar is in the final stages of production at the Toonz Animation Studio, Technopark, Kerala. A team of artists and technicians is working frenetically to complete the film for the Italian producer Rainbow Productions.
Applied Gravity, a New Zealand-based company, has outsourced nearly 90 per cent of it animation work to Nipuna Services, the business process outsourcing subsidiary of Satyam Computer Servcies. An animatronics dog for Animal Planet (Discovery channel) for a popular episode called K9 to11 and animatronics models for New Zealand theme parks were some of the best-known creations of Applied Gravity in India.
The Walt Disney Company has outsourced some of its major animation projects to various studios across India. Cartoon Network is buying animation films made in India. MTV has added India to its outsourcing hub along with the Philippines and South Korea.A new outsourcing fever has gripped India.
Global entertainment majors like Walt Disney, Imax, Warner Brothers and Sony are signing up huge contracts with Indian animation companies. And cities in India like Mumbai, Chennai, Bangalore, Hyderabad and Trivandrum have emerged as the country's major animation hubs.
India has a vast base of English speaking workforce: Animation, which requires familiarity with the English language, benefits when the work is outsourced to India. A number of animation companies in the country are also creating skilled manpower for the animation market through various training programmes.
Presence of good studios: India has the second largest entertainment industry in the world, after Hollywood. Animation studios in the country provide a large supply of low-cost, high-quality software engineers. A number of Indian animation companies have set up hi-tech studios (equipped with state-of-the-art hardware and software) to execute overseas projects.
Low cost of animation services: The main reason why foreign entertainment firms are flocking to India is the cost advantage the country offers. For instance, in the US, animators can cost about $125 an hour; in India, they cost $25 an hour. Toonz Animation offers animation at 25 per cent to 40 per cent lower rates than other Asian studios and much lower than those of American studios.
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EXPERIENCES.....
Character Animation 2D/3D, Story Boarding, Character Designing, Directing, Composting, Editing, developing creative concepts Creative Animation Director/Pre-visualisation, Concept Designer....................... Sr. Animator/Pre-Visualisation..................................................................................... Faculty for Traditional Animation................................................................................. "2002" DATAQUEST ENTERTAINMENT
Asst. Animation.............................................................................................................. S.V GRAPHICS Digital Team Leader/Compositor...............................................................................
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