Outsourcing in the Animation Industry 471

2016 ◽  
Keyword(s):  
Animation Industry

Optimize the Study of the Dynamic Film Selection

2013 ◽  
Vol 320 ◽  
pp. 768-773
Author(s):  
Tien Kuei Yu
Keyword(s):  
Computer Animation ◽  
High Efficiency ◽  
Consumer Preferences ◽  
Low Cost ◽  
The United States ◽  
Short Film ◽  
Film Properties ◽  
Animation Industry ◽  
Video Library ◽  
Grey Relational

A technical computer animation for dynamic film, animated short film production to Taiwan by customers to move to the development of the continent, a shrinking market worries. Visible the Taiwan in animation foundry (low-cost, high-quality, high-efficiency) industry, no longer is an advantage. The other hand, the industry has also been realized to cartoons of the United States and Japan and therefore positive efforts (toward the direction of home-made animation Fanmei Jun, 2004). Secondly, the computer animation at this stage of the development of animation industry in Taiwan is the weakest that is, the ability of the financial, legal, and international marketing. Due to the creation of the marketing practices of the finished product is difficult to both creators oriented (Hongfeng Yi, 2004). The research basis the Tsou-Hsiang Ju (2008) using conjoint analysis, analysis of four different preference cluster analysis, five kinds of film properties and their rights, grey relational analysis of dynamic video library field to be named; understand the Hall field the eyes of the average consumer selection situation, it is recommended to design products to meet consumer preferences, and to continue to innovate and reform, driven by the digital content industry to flourish in the international market and to keep pace with foreign manufacturers.

scholarly journals Performance Measurement of Animation Design Pre-Production Artist During COVID-19 Pandemic in India

2021 ◽  
Author(s):  
Arghya Kamal Roy ◽  
Abhishek Kumar ◽  
B. Muthu Kumaran ◽  
Sayyad Samee ◽  
Pranjal Singh ◽  
...  
Keyword(s):  
Performance Measurement ◽  
Production Cost ◽  
Research Paper ◽  
Online Questionnaire ◽  
Planning Stage ◽  
Animation Industry ◽  
Technical Base ◽  
Fast Step ◽  
Post Production ◽  
Production Industry

This research focuses on the development of the Indian animation industry. In Animation Pipeline pre-production is an important stage that determines the success of a film. Create and develop a story is the fast step and all other steps have to follow that storyline till final film realized. In this research paper present the survey base online questionnaire and the data has been collected of 300 artist who belong into Indian animation industry conducted in September 2020 by using google form. In general, Indian animation industry mostly run into production and post production (technical) base work so Indian animation industry has a smaller number of vacancies for pre-production (design and planning) artist and also having a very a smaller number of design and planning artist because of that they have highly demand. To evaluate and determine the factors that may affect the level of Indian animation pre-production industry. The study helpful to identify the animation industry current need and it focuses on planning stage to production of a movie. This research paper concludes 95% of artist working into the industry for production and post production if they are properly working into preproduction and then start into the movie work then there will be more vacancy for pre-production artist and end of the day production cost reduced up to 25 %.

scholarly journals An analysis of the circumstances and factors that have influenced the development of Animation Industry in Iran in the 1960-2002 periods

2015 ◽  
Vol 16 (SE) ◽  
pp. 61-77
Author(s):  
Naser Golmohammadi
Keyword(s):  
Cultural Policy ◽  
Animation Industry ◽  
Historical View ◽  
Feature Films ◽  
Art Form ◽  
Iranian History ◽  
The Government ◽  
Printed Materials ◽  
The One ◽  
The Impact

In the early part of 20th century animation emerged as a revolutionary way of making art. It evolved into a powerful means of expression and creativity of artists who could merge all art genres into one art form. The subsequent developments of animation have opened its diverse uses in entertainment business, education and political propaganda. This article attempts to examine the factors that have influenced and shaped the development of animation industry in Iran. It takes a historical view and investigates the impacts of changing socio-economic and political forces that have determined the functions of animation in the Iranian society. The study traces the establishment of the industry to the government-run centres, describing the pioneering role of artists who gave rise to the ‘golden age’ of animation in the pre-revolutionary Iran. Especial attention is throughout paid to the long and rich cultural and artistic heritages, as the thematic basis for indigenously produced animated films in Iran. The growth of the industry is considered in conjuncture with the expansion of feature films cinema and expansion of television networks. The latter is particularly important for the fact that it provides a secured market for a sizeable audience of children and young people in Iran. The study analyses the impact of the 1979 Islamic Revolution on the animation industry from a period of stagnation to a highly promoted and government sponsored artistic and industrial activity. In the post-revolutionary period, the industry was transformed from one reflecting the Iranian history and culture to the one that emphasises the Islamic-Iranian values and Islamic traditions; hence animation has become an ideological means in propagating the cultural policy of the state. Thus, animation has increasingly become a cultural industry assigned to supply growing needs of television and artistic works reserved for international festivals.This research is largely based on extensive interviews with animation artists and those who are working in the industry complemented with a sample of questionnaires addressed to both Iranian artists and foreign observers and participants in the Iranian International festivals on animation. The research methodology is also supplemented with the research on printed materials – very few and often descriptive- and personal experience of working over twenty years in the industry.

scholarly journals SMALL SCALE STUDIO SETUP (4S) CREATION : CURRENT TRENDS IN ANIMATION INDUSTRY ENTREPENEURSHIP

2020 ◽  
Vol 3 (1) ◽  
pp. 10-20
Author(s):  
Ahmad Azaini Abdul Manaf ◽  
Fytullah Hamzah ◽  
Azwan Abidin
Keyword(s):  
Higher Learning ◽  
Self Management ◽  
Small Scale ◽  
Flexible Work ◽  
Animation Industry ◽  
Self Employment ◽  
Current Trends ◽  
Economic Trends ◽  
Learning Institutions ◽  
And Control

Self-employment and self-entrepreneurship activities among graduates in local and global economic trends lead to the birth of small scale animation studios. Government funding and business exposure in higher learning institutions are driving the young workforce to establish their own company rather than working for others. The current generations of graduates are very much in favor of entrepreneurship and begin to break away from the notion of stability in conventional professions due to the lack of flexible work-life balance and office benefits. Company ownership and financial freedom self-management remain the most recent phenomena in today's graduates. The idea of maintaining self-expression and control of the personal intellectual property is driving the young animator to venture into a small scale studio setup (4S).

scholarly journals Animation Cross-Cultural Communication from the Perspective of Semiotics

2020 ◽  
Vol 2 (1) ◽  
Author(s):  
Hao Yan
Keyword(s):  
Production Capacity ◽  
The United States ◽  
Cultural Influence ◽  
Cross Cultural ◽  
Cultural Communication ◽  
Cultural Industries ◽  
Cultural Industry ◽  
Animation Industry ◽  
Cross Cultural Communication ◽  
The World

<p>In today's globalization, each country in the world is exporting its own economic, political and cultural ideas. The animation industry is part of the cultural industry. China is at a disadvantage in the export in cultural industries. There is a huge gap between China and countries like Japan, Europe and the United States and other countries regarding the animation industry. Therefore, it is necessary to learn the experience and technology of advanced countries to improve ourselves, not only to improve the animation production capacity of China, but also to enhance cultural influence in the international community.</p>

Reimagining Boundaries: Amateur Animations

2018 ◽  
pp. 196-226
Author(s):  
Annamaria Motrescu-Mayes ◽  
Heather Norris Nicholson
Keyword(s):  
Women Filmmakers ◽  
Story Telling ◽  
Visual Effects ◽  
Working At Home ◽  
Animation Industry ◽  
Different Ages ◽  
Stop Motion ◽  
At Home

Very few amateur women filmmakers chose to focus on animation and none have been identified in the colonial settings considered in this book. This chapter discusses varied approaches to animation and suggests that early stop motion experiments were entertaining acts of story-telling and capturing scenes of childhood. Some filmmakers added animated titling sequences to their films and used special visual effects, either working on their own, with a partner or as part of a larger group as seen in films by the Grasshopper Group and Leeds Animation Workshop. Working at home characterises many of this chapter's examples although some teachers have explored animation with children of different ages. IAC records and reminiscences trace over eighty years of women's involvement including still active practitioners and many invisible and under-acknowledged contributors to Britain's professional mid century animation industry

So, What is Creativity?

2017 ◽  
pp. 78-101
Author(s):  
Henry Ma
Keyword(s):  
Creative Industries ◽  
Structural Refinement ◽  
Original Design ◽  
Animation Industry ◽  
Contract Work ◽  
Complex Concept ◽  
Fostering Creativity ◽  
Teachers And Students ◽  
Creative Talent ◽  
The Uk

With the impact of the development of the Creative Industries in the UK and other countries, China adopted the term Cultural and Creative Industry in a national strategy to initiate a structural refinement of the industrial sectors. The animation industry in China has long served as a major original equipment manufacturer (that is, producers of contract work for an external brand) to foreign investors. It then started to develop into a center of original design manufacturers (self-originated work sold to others) and original brand manufacturers (self-originated, self-branded work). This led to a rapid demand for creative talent from higher education institutes. Creativity is a relatively complex concept, and successfully fostering creativity in education demands a clear conception of what creativity and creativity education are. The objective of this chapter is to explore how teachers and students perceive the meaning of the term creativity and identify factors that contribute to teachers and students' conception of creativity in education.

Tezuka, Osamu (1928–1989)

2018 ◽  
Author(s):  
Grace Ting
Keyword(s):  
World War Ii ◽  
Business Model ◽  
Television Series ◽  
World War ◽  
Animation Industry ◽  
Postwar Japan ◽  
Animated Films ◽  
Treasure Island ◽  
Media Mix

Tezuka Osamu was a manga (comic) artist, animator, and film director often called the "God of Manga" for his enormous lasting impact upon the manga and animation industry of post-World War II Japan. First attracting attention in 1947 with his manga Shin takarajima (New Treasure Island), he was extraordinarily prolific until his death in 1989. He is best known for his series Tetsuwan Atomu (Iron-Armed Atom, 1952–1968), which suggested utopian desires while also posing darker questions concerning possibilities for peace and diversity in postwar Japan. In 1961, he established the animation studio Mushi Production and adapted the series as the first Japanese animated television series, aired from 1963 to 1966. Ultimately, he produced several hundred manga titles, many of which he adapted as animated films and television series while also producing original animations. A master of innovation, he forged the path for new possibilities for manga and animation, particularly with his groundbreaking contributions in applying cinematic techniques to his works. Tezuka’s work suggests the close-knit ties between film, manga, and TV animation in Japan. In particular, scholar Marc Steinberg has discussed the significant role of Tetsuwan Atomu in establishing precedents for the postwar anime media mix in Japan, especially with its style of limited animation made for television and Tezuka’s business model incorporating transmedia character merchandising.

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