Summer Internship Report

Summer internship program=2011

On

Animation film production process

For

Daksaa films

Submitted by:-kunal kishore

Reg.no:-1020018

FACULTY GUIDE: COMPANY GUIDE:

Prof. Lakshmi Iyer Mr. Nirmal Shah

Faculty, CUIM Vice-President

(Global delivery)

Tescra Software

Christ University institute of management

Kengeri campus, Bangalore, karnatka

ANIMATION FILM PRODUCTION PROCESS RESEARCH 2 | P a g e

DECLARATION

I Kunal kishore hereby declare that the project report titled ―Animation film production process

research‖ submitted for the partial fulfillment of the requirements for the award of the Master of

Business Administration is my original project work and has been carried out under the guidance

of PROF.LAKSHMI IYER, Christ University Institute of Management and Mr. NIRMAL

SHAH, vice president, TESCRA SOFTWARE.

…………………………………

Kunal kishore

Intern- TESCRA SOFTWARE

MBA, Christ University

Place:

Date:


ACKNOWLEDGEMENT

I consider it my privilege to express a few words of gratitude and respect to all those who guided

and inspired me in the successful completion of the project. I wish to take this opportunity to

express my deep sense of gratitude to my guide Mr. Nirmal Shah, vice- president, Tescra

software for their invaluable guidance throughout my project.

I also convey my sincere gratitude to my faculty Guide Prof. Lakshmi Iyer, CHRIST

UNIVERSITY INSTITUTE OF MANAGEMENT and all my friends and my family for their

encouragement and support extended to me during the course of my project. At the end I would

not forget to thank other members of Tescra software, Bangalore who treated me well and helped

me in the best of their capacity.

Kunal kishore

1020018


LETTER FROM THE COORDINATOR

This is to certify that Mr. kunal kishore (Registration number- 1020018) is a bona fide student

of Christ University Institute of Management (MBA batch 2010-11) and has successfully

completed his Summer Internship Project in TESCRA SOFTWARE , WHITE FIELD ROAD,

Bangalore, in the Marketing field.

………………………………………..

Prof. Dr. Jeevananda

Coordinator,

Christ University Institute of Management.

Place:

Date:


CERTIFICATE – FACULTY GUIDE

This is to certify that this internship report on the topic ―ANIMATION FILM PRODUCTION

PROCESS RESEARCH”, is a bonafide work of Mr. KUNAL KISHORE under my guidance

and support .This report is a part of MBA course with specialization in Marketing stream and the

content and the work done is genuine with respect to the information covered and thought

expressed.

…………………………………………..

Prof. Lakshmi Iyer

Faculty Guide

Christ University Institute Of Management

Date:-

Place:-


CONTENTS:

CHAPTERS: PAGE.NO.

EXECUTIVE SUMMARY ………………………………………………………………………...............8

1) INDUSTRY ANALYSIS:

INTRODUCTION ……………………………………………………………………………………10

INDIAN ANIMATION INDUSTRY ……………………………………………………….…….11

VERTICAL CONSTITUENTS OF ANIMATION FILM INDUSTRY……………………….13

PRODUCTION BUSINESS MODEL………………………………………………………….…..14

AREAS OF OPERATION………………..…………………………………………………………..15

DOMAINS OF ANIMATION BUSINESS……………………………………………………….17

2) RESEARCH METHODOLOGY:

RESEARCH OBJECTIVE ……………………………………………………………………………21

RESEARCH DESIGN ………………………………………………………………………………….21

2) ANIMATION FILM PRODUCTION PIPELINE:

VALUE CHAIN OF ANIMATION FILM PRODUCTION PROCESS………………….…24

PRODUCTION PROCESS PIPELINE……………………………………………………...........25

3) DATA ANALYSIS & INTERPRETATION :

TELEPHONIC INTERVIEW ANALYSIS ………………………………………………………….39

SAS ANALYSIS OF RAW DATA FROM QUESTIONNAIRE ………………………….... 41

SAS FREQUENCY 3D PIE CHART ANALYSIS…………………………………………………46


4) FINDINGS AND SUGGESTIONS:

FINDING ……………………………………………………………………………………………………53

SUGGESTIONS…………………………………………………………………………………………..55

CHALLENGES……………………………………………………………………………………………. 57

FUTURE OUTLOOK……………………………………………………………………………………59

BIBLIOGRAPHY ……………………………………………………………………………………………………….59

ANNEXURE ……………………………………………………………………………………………………………60


Executive summary

The project was undertaken as a part of summer training at Tescra software, Bangalore for a

period of 60 days.

TESCRA is system integration, global IT Solutions Company in the field of application

development, maintenance and integration. The company offers services to energy, oil, and gas;

banking, insurance, and financial services; telecommunications; retail; manufacturing;

healthcare; entertainment; and hi-tech industries in the North American, European, and Asia-Pac

regions.

Now the company is coming up with animation film Production Company named ―daksaa film‖

which will only deals in animation film making. Company is in its planning stage and the

research process is going on for establishing a strong position in Indian animation film industry.

My objective was to find the detail information about the production pipeline, what are the

different stages in the process of animation film business. How they are done. The different

software used in the process of animation film production process was to be deduced stage wise.

Methodology: Formal telephonic interview was conducted for gathering the information about

the production pipeline from the 10 production houses. Producer or creative director of the

production houses were interviewed. And for deducing the name of software for the production

process. Questionnaire was prepared to get the name of best software according to them for a

particular production process .The questionnaire was prepared in such a way that if the

respondent has expertise in pre-production stage than he can fill the questionnaire for that

particular stage and he can skip the whole questionnaire.

The questionnaire was mailed to 2000 animators across India out of which 126 animators

responded during the period of internship.


CHAPTER - 1 (INDUSTRY ANALYSIS)


Animation is the rapid succession of 2D or 3D frames of artwork to create an illusion of motion.

Animation works on the principle of persistence of vision. There exist three different types of

animation ,1) traditional cell animation 2) stop motion animation 3) computer animation. The

first successful Indian animation film was jungle book , based on India, all the characters are

Indian and have Indian names as well .The global animation industry largely lies in Europe, the

U.S., Japan and South Korea wherein US is the leader. Japan is a larger exporter of animation

content with a structured industry chain and mature operating mechanism. South Korea is second

to the U.S. and Japan with respect to the output value of the animation industry.

INDIAN MARKET

The market in India is estimated at USD 500 million in Year 2009 and is expected to growth a

rate of 23% p.a. to reach USD 1161 million by 2013. The animation industry in India has three

key segments: Animation Entertainment, Entertainment Visual Effects (VFX) and Custom

Content Development. Among these segments, Custom Content Development is the largest

(50%) followed by Animation Entertainment and Entertainment VFX. However, it is the

Entertainment VFX segment which is expected to grow the fastest at ~28% p.a. Almost 70% of

the revenues of the Indian Animation Industry are from the outsourcing work done for the

overseas clients. Though the demand in domestic market is picking up, this trend is expected to

continue.

(Amount in million us dollar)


The Indian market is increasingly being sought by North American and European film producers.

The major driver behind this shift is the availability of low COST AND powerful computer

animation platforms and much lower labour rates as compared to North America and Europe.

Technology has made computer animation available to the common person and hence the

animation industry is one of the fastest growing industries . movies are increasingly using

animation and computer graphic special effects. The bulk of the outsourcing happens for 2D

animation content with some amount 3D content. Globally ,the animation industry can be

classified as outsourcing and content ownership . many Indian animation companies are working

on outsourced project from the west , mainly north America. The job mainly include production

jobs such as key framing , inbetweening ,etc. Indian companies have realized the potential to

content development and ownership of intellectual property rights of the animation. Outsourcing

companies in india will therefore eventually have to shift to this model to be able to move to the

value chain.

FACTORS EXPECTED TO INFLUENCE THE GROWTH OF ANIMATION FILM

INDUSTRY

1) Increased Outsourcing by Overseas Players: The recent economic slowdown has

forced the organizations to increase focus on cost reduction leading to greater

outsourcing to Asian countries, both for Animation entertainment outsourced by overseas

production houses and custom content development outsourced by the corporate sector.

2) Greater outsourcing share for Indian players: Indian players currently command only

8% of the outsourcing work. This is expected to increase, especially with increasing

recognition of the Indian players in terms of providing timely and quality work.

3) Significant evolution of Indian Players: Indian players have moved up the value chain by

developing animation content end-to-end. Moreover, the players are increasingly adopting the


‗Co-Production‘ model (Revenue-Sharing). This trend opens high revenue opportunities for the

Indian players.

3) Increasing usage of Visual Effects in Bollywood is expected to give a boost to the

industry.

4) Increasing adoption of e-Learning by corporate sector and higher education institutions in

India is a significant opportunity for Indian players, offering ‗Custom Content development.


VERTICAL CONSTITUENT OF ANIMATION INDUSTRY

CLIENT:- Gives the brief comprising the concept, storyline and script .

PRODUCTION HOUSE:- Comprises of the Creative team and the IT division. The creative

team draws each scene, sketches each character and then animates them on the computer. The IT

division has to convert the story board to models, backgrounds, texture. The models are then

pictured, clothed, animated and composited. The company must have sufficient IT set up and

creative competence. IT infrastructure includes software as well as hardware. One of the main

challenges is optimization of CPU power of servers and infrastructure. The entire team,

including the producer, the animation director, the backgrounds director, department heads,

production coordinator, animators, etc ,work in synchronization with each other. The producer

may also be the distributor of the film. Typically, when major studios get involved early in the

production, they finance most or all of the animated film‘s development and production budget

and also handle distribution. In return, they receive all rights (including the copyright) and

control all creative, marketing and distribution decisions. While filmmakers can benefit

financially from the guaranteed exhibition and broad audience reach provided by such deals,

final compensation may be far less than expected once significant studio fees and expenses are

deducted.

DISTRIBUTER – The distributor is responsible for the marketing and promotion of the film.

The various modes of distribution to the end consumer are video, DVD, cinema screening, TV

screening, etc. In a highly competitive industry such as this one, the film‘s success depends to a

large extent on the appropriate promotion and marketing of the film. The distributor usually gets

involved only after the completion of the film and funding for production comes from elsewhere.

In this scenario, the distributor takes approximately 35% of gross distribution revenues returned

from the theaters, and then deducts expenses before remitting the remainder to the producer.


PRUDUCTION BUSINESS MODEL

SERVICES DESCRIPTION IN - HOUSE STUDIO The producer provides the story for the film. The

studio takes care of development and

production support, financing and business

resources, and distribution resources. The

producer receives a fee and sometimes profit

sharing, but the studio owns the IP for the film,

and has creative control.

NIGETIVE PICK UP The producer provides the story, development,

financing and final delivery of the film. The

studio provides development and production

support, business resources, and distribution

resources. The studio receives a distribution fee

and profit sharing, and has distribution rights.

But the producer owns the IP for the film, and

has creative control (although the studio may

maintain right of final cut).

DISTRIBUTION ONLY The producer provides a finished film. The

studio provides distribution only .The producer

retains complete creative and distribution rights.

Distribution rights are “licensed” to the studio in

exchange for a licensing fee paid to the

producer.


AREAS OF OPERATION

The areas of operation for Indian companies lie mainly in the production and post-production

areas of the value chain. Indian companies work on outsourced projects from North America.

Indian studios are also working on conversion of 2D content to 3D. Indian companies focus on

outsourced projects and so there is very little attention paid to developing on own IP. Training

institutes have started offering creative training but still these are very few in numbers.

In terms of activities across the value chain, some animation studios are focusing on moving up

the value chain.

IP creation Script preparation Character design Story conceptualization

IP development Funding Scheduling Integration of Process Equipment

Provider

Modeling Character Rigging Voice Recording Layout Animation Screenplay Storyboarding Visual Development

Lighting Texturing Sound Effects Music Content Repurposing Digital Management Company

Promotion Distribution Video Release DVD Release Cinema Screening TV Screening Sales Marketing & Promotion


*Identification of an existing IP or generation of new Idea * Involves asset procurement, funding scheduling & integration of resources

*Preparation of the script, character design, storyboard layout development

*Development of specifications regarding the character, background paint, inking & painting, and visual effects *Creation of the Frames

*Final sound recording, color editing, testing and special sound effects

*Promotion, distribution, video DVD release, and cinema & TV screening

30%

Medium High

45% 10% 5%

Outsourcing

% Effort


Domains of animation business

(Following are the domains in which animation business deals with)

VFX (visual effect) & SFX(special/sound effect)-Indian studios have been working in VFX on

outsourced work Hollywood films. The demand for VFX in Indian cinema is increasing with

movies like robot etc . TATA ELXSI , EFX , PIXION are some of the major studios performing

VFX work in film. VFX work is also done for tv advertisement and series by small studios . In

case of SFX Indian studios have been working on outsourced project from foreign studios as

well as on domestic project . however this lies largely in the area of post production . Television

advertisers – Animated characters are becoming increasingly popular for advertising and brand

promotions. Animated ads cost about the same as live action commercials. Example, AMUL

GIRL and CHINTAMANI for ICICI. as we have to focus only on animation film production .


As per business model the animation studio operates on , they have different requirements and

seek different services

Model I: The animation studio will outsource the labour intensive production work to

studios. Such outsourced projects are done mainly in the Asian countries such as Korea,

Philippine , Taipei and India. The work involves a lot of ink, paint, compositing and scanning

work i.e. the post-production process of animation. The main drive

labour rates which makes these small studios an attractive destination for animation

outsourcing. Some bigger animation studios winning large scale projects in turn outsource a

part of the project to a smaller studio elsewhere. Such partnership exist between

1. Animation studios in India and abroad

2. Indian animation studios and advertising firms

3. Indian animation studios and foreign TV channels/ film producers

Model II: Modularization of animation is done, wherein experts from multiple animation

Companies situated in India and abroad come together to execute specific function in the

Production value chain. Such partnership can be seen between:

1. Indian animation studios and foreign TV channels/film producers

2.Animation studios in India and abroad

MODEL III: The animation studio owns the intellectual property rights to the content and

generates revenues from the content itself or by means of ancillary revenues.


Services offered Platform Distribution Percentage Skills needed

Stop motion – paper cuts, Film-20% Basic level puppets, clay motion, Direct DVD-40% object animation TV broadcast-20%

2D simulation - crowd simulation, Film-50% Medium level skeletal animation TV broadcast-70% Direct DVD-100%

3D simulation motion capture Film-100% High level TV broadcast-100% Direct DVD-100%


CHAPTER – 2 (RESEARCH METHODOLOGY)


RESEARCH OBJECTIVE:

DAKSAA FILMS is a new venture, so for startup lot of information is to be collected .But the

main focus was on the production pipeline research process, which includes the steps followed

and the various software which is used in the animation film production process. Along with that

other information has to be gathered from the already existing animation film making giants

which are as follows.

What factors they have considered for Location selection

How they are being financed

Types of job handled by the company

Production house model followed by the company

RESEARCH DESIGN:

Research is based on qualitative analysis.

In qualitative analysis Expert consensus Method was used.

Expert consensus method was done in two methods:-

1) Personal interview

2) Questionnaire method

METHODS FOLLOWED FOR COLLECTING INFORMATION:

A) Telephonic interview was conducted for gathering information from the production houses.

B) Questionnaire method was used for collecting the name of the software from the animators.

A) As the production process is being deduced by talking to the different production houses

. The producers and the creative head of the different production houses were interviewed

on telephone .The interview method was conducted formally.

Sample size=10

Other half of the research process was to find the names of software which should be used for the

above mentioned production process.


B) Questionnaire method for collection of the name of the software from the animators

across India.

A questionnaire was prepared which collect the name of different software which is best

according to the animators across India. Which collect information process wise, from pre-

production stage, production stage to post-production stage . The questionnaire was designed in

such a way that if a animator have expertise in pre-production process than he can suggest

software for that particular stage and he can skip the rest of the questions. In the questionnaire

they were asked to mention the name of the company in which they are working.The

questionnaire was forwarded online to more than 2000 animators across India working in

different companies which deals with animation job. And the follow up part handled through

telephone .The whole data of animators was provided by the company from naukri.com.Out of

2000 , 126 animators responded to the questionnaire .The list of the company went up to more

than 100 from which animators responded. As the list of animation software for different process

is endless i.e. in questionnaire no options was given for the name of software. Animators were

asked to fill the name of the software best according to them for different stages of animation.

The animators were asked to suggest in only that process on which they are currently working.

E.g. if the animators is working in pre production process then, he is supposed to suggest for that

process only. And he can leave rest of the questions unanswered.

TOOL USED TO ANALYSE THE RAW DATA:

The data obtained was not in the proper format. As the animators were asked to suggest only one

software for a particular process but they suggested more than one. So discarding more than one

name of the software by myself was going to affect the reliability and quality of the data. So a

powerful business intelligence tool was used for crunching the data.SAS which is known as

statistical analysis system was used for analyzing the data . as our interest was to know the top

software for the different stages of animation film production process. SAS arranged the data

process wise and in descending order on the basis of number of Count. Count says how many

times that particular software is being suggested for that particular process. The requirement of

the company was to get the top five software for each stages of the production process reflected

in the report.


CHAPTER - 3 ANIMATION FILM PRODUCTION PROCESS

(Animation domain consist of various components like web-designing ,entertainment and e-

learning . Entertainment consist of TV broadcast, direct to DVD, fully animated movies,

VFX (short duration). But the focus of DAKSAA FILM is in entertainment specifically in

Fully animated movies . The objective of the project assigned was to find out the process

involved in the fully animated movies and their process how the particular process is executed.

Description of the each process of the animation film production process )


VALUE CHAIN OF ANIMATION FILM PRODUCTION PROCESS

ACQUISITION OF

RIGHTS

(PRE-PRODUCTION)

CHARACTER DESIGNING

SCRIPT

AND

STORY BOARD

PILOT (PRODUCTION)

CREATION OF KEY

DESIGN

CREATION OF

FRAME AND

MODEL

SOUND TRACK ANIMATION

INK AND PAINT COMPOSITION (POST- PRODUCTION)

PICTURE

DUBBING AND

SOUND RENDERING DELIVERY


ACQUISITION OF RIGHT: Concept of digital rights management security protocol is used

when the concept is created in animation film business .and Rights, permissions, privileges and

other attributes are retained by the company to whom rights has been issued.

CHARACTER DESIGN: character design is the process of defining a the character. Typically,

a character's individual strengths and weaknesses are represented by a set of statistics. film with

a largely fictional setting may include traits such as race and class. movies with a more

contemporary or narrower setting may limit customization to physical and personality traits.

Character creation is typically the first step taken by the animator in preparation for a animation

film. The result of character creation is a direct characterization that is recorded on a character

sheet. In its most comprehensive form it includes not only a movie-specific representation of the

character's physical, mental, psychological and social properties in terms of statistics, but also a

formal descriptions of the character‘s physical appearance, personality, personal back-

story (―background‖) and possessions. During animation, only a character‘s appearance is

usually described explicitly while other traits are characterized indirectly, with the exact statistics

known to the character‘s creator.

SCRIPT: In this writer breaks the story down in sequence, page-by-page and panel-by-panel,

describing the action, characters, and sometimes backgrounds and "camera" points-of-view of

each panel. And dialogues are written at this stage itself.

STORY BOARD: Once a concept or script is written for a film or animation, the next step isTo

make a story board. A story board visually tells the story of an animation panel by Panel, kind of

like a comic book.storyboard will should convey some of the following information:

What characters are in the frame, and how are they moving?

What are the characters saying to each other, if anything?

How much time has passed between the last frame of the storyboard and the current one?

Where the "camera" is in the scene? Close or far away? Is the camera moving?


Creating a storyboard will help you plan your animation out shot by shot. You can make changes

to your storyboard before you start animating, instead of changing your mind later. You will also

be able to talk about your animation and show your storyboard to other people to get feedback on

your ideas.

Most commonly, storyboards are drawn in pen or pencil. If you don't like to draw you can also

take photos, cut out pictures from magazines, or use a computer to make your storyboards. Keep

in mind that your drawings don't have to be fancy! In fact, you want to spend just a few minutes

drawing each frame. Use basic shapes, stick figures, and simple backgrounds. If you draw your

storyboard frames on index cards, you can rearrange them to move parts of the the story around.

Storyboard Language

CLOSE-UP SHOT: A close range of distance between the camera and the subject.

DISSOVLE: A transition between two shots, where one shot fades away and simultaneously

another shot fades in.


FADE - A transition from a shot to black where the image gradually becomes darker is a Fade

Out; or from black where the image gradually becomes brighter is a Fade In.

HIGH CAMERA ANGLE: A camera angle which looks down on its subject making it look

small, weak or unimportant.

JUMP CUT: A rapid, jerky transition from one frame to the next, either disrupting the flow of

time or movement within a scene or making an abrupt transition from one scene to another.

LEVEL CAMERA ANGLE: A camera angle which is even with the subject; it may be used as a

neutral shot.

LONG SHOT: A long range of distance between the camera and the subject, often providing a

broader range of the setting.

LOW CAMERA ANGLE: A camera angle which looks up at its subject; it makes the subject

seem important and powerful.

PAN: A steady, sweeping movement from one point in a scene to another.

POV (point of view shot): A shot which is understood to be seen from the point of view of a

character within the scene.

REACTION SHOT- 1.: A shot of someone looking off screen. 2.: A reaction shot can also be a

shot of someone in a conversation where they are not given a line of dialogue but are just

listening to the other person speak.

TILT: Using a camera on a tripod, the camera moves up or down to follow the action.

ZOOM: Use of the camera lens to move closely towards the subject .


PILOT : pilots are used to discover whether an entertaining concept can be successfully

realized. After seeing this sample of the proposed product, networks will then determine whether

the expense of additional episodes is justified. They are best thought of as prototypes of the show

that is to follow, because elements often change from pilot to movie.

CREATION OF FRAME:

The character which will be constructed as a 3D model has various motions in the input cel

animation. It is assumed that the orthogonal projection is used for each frame. According to the

user-specified 2D feature points on each frame, we approximate the relative locations of the

input frames in the 3D space. That means we wish to have a rotation matrix Rj of the character

and a scaling parameter sj of the image for frame j that can approximate the location

relative to the first frame. Firstly Tomasi and Kanade‘s method was used to roughly

approximate the 3D positions of the feature points, which have been specified on each frame by

applying some scaling and rotation parameters. By using this method, although some of the

feature points do not appear on all of the frames, the approximation process also works well.

However, since this method works only for the rigid objects, if the object is a character in a cel

animation which has dynamic motions and deformations, the approximating result may not be

the proper position, or even far from it. To properly generate the 3D feature stroke , user should

be able to designate the scaling parameters sj and rotation matrix Rj directly and clearly for each

frame. To reduce the work required from the user, Tomasi and Kanade‘s

method has been modified.

Assume the input cel animation has m frames and the user specifies n 2D feature points on each

frame of the animation. First Tomasi and Kanade‘s method is used to

obtain the initial positions pi of n 3D feature points, where i = 1, 2, · · · , n. Then, we maximize

the estimating function i,j Fij(qij) for frame j = 1, 2 · · ·,m, where qij lies on the image plane and

is the projected 2D point of pi by using Rj and sj . The rotation matrix Rj(αj, βj, γj), which

is represented by Euler angles, and the scaling parameter sj are the variables of the estimating

function. Fij(x) is a density function and is defined as follows.

Fij(x) =(_x − fij_ − r)2, if _x − fij_ ≤ rj


0, otherwise , (1) where fij is the i-th 2D feature point on the frame j and rj is a user-specified

threshold that can be the same value for all of the frames. The estimating function means that the

closer the projection of the 3D features point and its corresponding 2D feature point, the larger

the value of the estimating function. Moreover, if necessary, the user can arbitrarily fix αj ,βj, or

γj to increase the precision of the frame registration. Through this method, by setting a proper rj ,

even if some of the feature points are moved rapidly, we can still obtain

a relative closer frame registration.

STROKE GENERATION: From the scaling parameter sj and rotation matrix Rj obtained in the

previous section, we can embed the 2D feature strokes into 3D space to generate 3D feature

strokes for each frame. Since the 3D feature stroke generation process can be operated

independently for the feature strokes with different index numbers, in the following description

of this algorithm, we will focus on only one set of corresponding 2D feature strokes, with a

specific index, that appears on all of the frames.

First, the 2D feature stroke which has the maximum length on all of the frames is selected as the

‖base feature stroke‖. Then, this base feature stoke is approximated as a polyline. The number of

vertices of the polyline depends on a user-specified base segment length. The other 2D feature

strokes on other frames are segmented as polylines by the same number of vertices. If we define

the 2D coordinates of the vertex to be x – y values when embedding to the 3D space, the only

problem in this process is defining, in the camera coordinates, the z value of each vertex which

forms the polylines on each frame, and this problem is converted to minimize an estimating

function.

CREATION OF MODEL:

In this section, the 3D model creation method for each frame is described. instead of creating a

3D model by just inflating the vertices of triangulated silhouette along the ±z axis which

is perpendicular to the image plane (x−y space), the z value obtained from using the 3D feature

strokes which is generated in the previous section. For example, all of the feature points and

feature strokes are visible on all of the frames. To create consistent 3D models which take into

account the correspondence among the frames, firstly define a set of triangles as a ‖common


domain‖ among the frames. This common domain can be obtained by constraint Delaunay

triangulation algorithm which takes the connectivity of 2D feature strokes among the feature

points as the constraint. At the same time, we define the patch as the paths which connect the

feature strokes and have the same connectivity as the common domain. If some paths of the

patch intersect each other, some new vertices will be inserted to the paths to re-adjust the route to

make the paths non-intersecting. We then parameterize the patch to the common domain, and

this parameterization is obtained by performing a parameterization method to each

corresponding triangle. Using the obtained parameterization, a recursive 4-to-1 subdivision is

performed to each triangle in the common domain to embed triangles inside the

silhouette. Finally, by moving the position of each vertex along the ±z axis, the 3D model can be

created. In Igarashi et al.‘s method , they use the distance from the silhouette as the z value of an

inside vertex. In our method, we set the z value by using the coordinates of 3D feature points and

3D feature strokes. That means for the vertices on the corresponding feature strokes, the z values

are set as those of the vertices on the 3D feature strokes.

For the other vertices, we use the z values of the vertices on the nearest 3D feature strokes and

Igarashi et al.‘s method to decide their z values, i.e., the z value is decided as a weighted sum of

the z value of the vertex on the nearest 3D feature stroke and the distance between the target

vertex and the nearest 3D feature stroke. If not all of the feature points and feature strokes are

visible on all of the frames, the visible feature points and feature strokes are set as the front

domain and the invisible feature points and feature strokes are set as the back domain. Then, the

two domains are independently arranged in the 2D domain and the 3D model is created by

inflating them independently along the +z and −z axes. The connectivity of the domain is

decided by constraint Delaunay triangulation algorithm which sequentially adds the constraints

from the Feature strokes on the first frame.


Animation:

Animation is a type of optical illusion. It involves the appearance of motion caused by displaying

still images one after another. 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.

Cartoon animation is often considered to be animation in its classic form. The animated cartoon

made its debut in the early part of the 20th century and calls for the use of 24 different drawings

per second. In traditional animated cartoons, frames are hand drawn.

Animation is both time-consuming and costly to produce. For this reason, most of the animation

made for television and film is produced by professorial studios. However, there are also many

independent studios. In fact, there are many resources, such as lower-cost animation programs

and distribution networks that make the work of the independent animator much easier than it

was in the past.

When animation is used for films or movies, each frame is produced on an individual basis.

Frames can be produced using computers or photographs of images that are either drawn or

painted. Frames can also be generated by altering a model unit in small ways and using a special

camera to take pictures of the results. No matter what method is used, the film or movie that

results fools the eye into seeing continuous movement.

Persistence of vision is often projected as the reason the eyes can be fooled into seeing

continuous movement that isn't really happening. Basically, the brain and the eyes cooperate,

storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed

out by the brain. Since animation frames are shot at very fast rates, most individuals see the

movement without stoppages.

Keep in mind that persistence of vision is a theory and not a proven concept. Many film

academics and theorists accept its relevance to animation. However, there are some scientists

that call the theory a complete myth.


Though the work of producing animated movies and cartoons can be intense and

laborious, computer animation can make the process much faster. Computer technology is

steadily improving, and professionals are able to create life-like characters using computers and

special animation software. However, skilled animators are still necessary for producing quality

animations. After all, computers are not yet capable of making artistic choices and bringing real

passion to simple image.

Ink and paint: A colorist fills in drawings with color after animation. These professionals are

artists with experience and training in their field, although the required experience

and education varies for colorists' jobs. A colorist once worked mainly with paper drawings and

coloring pens, but today most colorists work digitally on computers.

Professional digital coloring software is often complex. Colorists must master the

necessary software programs in order to complete each digital coloring job. Coloring software

may used with a tablet and stylus, a pen-like instrument that the colorist applies to the tablet

allows the work to appear on a computer screen. There are many different types of artist's

coloring programs that colorists use in their work.

The work a cartoon colorist does occurs during the last stage of the creative process. The

captions and basic line drawings are completed first by other professionals such as a

penciller, inker, and letterer. The inker then applies ink or outlining graphics to the penciller's

work.

The colorist then adds color to the artwork. Since colorists are the last creative professional to

work on the project before release, they usually have to finish the coloring quickly in order to

keep everything on deadline. For this reason, colorists need to be able to work well under

pressure.

A colorist doesn't simply apply a basic sweep of color to the drawings. Rather, he or she uses art

techniques such as shading and color blending to create forms that look three dimensional.

Colorists understand how to make shadow and light effects in their work. They also have a


strong understanding of color, such as how to use cool and warm colors to create a definite mood

in the comics or cartoons.

A colorist is very much an artist. Many colorists have an art degree or background that includes a

strong focus on color theory.

COMPOSITION: In animation process composition is the placement or arrangement of visual

elements or ingredients in a work of art, as distinct from the subject of a work. It can also be

thought of as the organization of the elements of art according to the principles of art The term

composition means ―putting together ―, that is arranged or put together using conscious thought.

The whole is first divided in to plots and each plot is given to different teams .so when all the

teams are done with their part than through composition whole movies is arranged in a proper

sequence.

DUBBING:

Dubbing is the post-production process of recording and putting voices on a animation film. The

term most commonly refers to the adding of the voices of the actors shown on the screen by

those of different performers, who may be speaking a different language. The procedure was

sometimes practiced in musicals when the actor had an unsatisfactory singing voice, and remains

in use to enable the screening of audio-visual material to a mass audience in countries where

viewers do not speak the same language as the original performers. Music is also dubbed onto a

film after editing is completed. For animation such as computer-generated imagery or animated

cartoons dialogue is recorded to a pre-edited version of the show. Although the characters' voices

are recorded in a studio, ADR is necessary whenever members of the cast cannot all be present at

once.

RENDERING:

Rendering is the final process of creating the actual animation from the prepared scene. This can

be compared to taking a photo or filming the scene after the setup is finished in real life. Several

different, and often specialized, rendering methods have been developed. This range from the


distinctly non-realistic wireframe rendering through polygon-based rendering, to more advanced

techniques such as: scan line rendering, ray tracing, or radiosity . Rendering may take from

fractions of a second to days for a single image/frame. In general, different methods are better

suited for either photo-realistic rendering, or real-time rendering.

As animation film rendering is done on non real- time basis. Animations for non-interactive

media, such as feature films and video, are rendered much more slowly. Non-real time rendering

enables the leveraging of limited processing power in order to obtain higher image quality.

Rendering times for individual frames may vary from a few seconds to several days for complex

scenes. Rendered frames are stored on a hard disk then can be transferred to other media such as

motion picture film or optical disk. These frames are then displayed sequentially at high frame

rates, typically 24, 25, or 30 frames per second, to achieve the illusion of movement.

When the goal is photo-realism, techniques such as ray tracing or radiosity are employed. This is

the basic method employed in digital media and artistic works. Techniques have been developed

for the purpose of simulating other naturally-occurring effects, such as the interaction of light

with various forms of matter. Examples of such techniques include particle systems (which can

simulate rain, smoke, or fire), volumetric sampling (to simulate fog, dust and other spatial

atmospheric effects), caustics(to simulate light focusing by uneven light-refracting surfaces, such

as the light ripples seen on the bottom of a swimming pool), and subsurface scattering (to

simulate light reflecting inside the volumes of solid objects such as human skin).

The rendering process is computationally expensive, given the complex variety of physical

processes being simulated. Computer processing power has increased rapidly over the years,

allowing for a progressively higher degree of realistic rendering. Film studios that produce

computer-generated animations typically make use of a render farm to generate images in a

timely manner. However, falling hardware costs mean that it is entirely possible to create small

amounts of 3D animation on a home computer system. The output of the renderer is often used

as only one small part of a completed motion-picture scene. Many layers of material may be

rendered separately and integrated into the final shot using compositing software.


Why rendering is required?

The use of filters, transitions, generators, or any combination of effects that exceeds your

computer‘s real-time playback capabilities

High-quality final output. Real-time effects that play back at preview quality must

ultimately be rendered for high-quality video output.

Video clips using codec‘s that Final Cut Pro can‘t play in real time

Multiple audio tracks that exceed your real-time playback limit

Clips with audio effects that require too much processing power

Some nested sequences, which can include layered Photoshop files


RENDERING FLOW CHART

Begin scene

Set render state

Set new eye transform

Draw scene

Set back ground to original

transform

Set new eye transform

Draw scene

Set background to original

transform

End

Scene

Twice

Twice


SERVICE MODEL FOLLOWED IN ANIMATION INDUSTRY Players in the animation entertainment industry in India follow various service models.

Every player in the industry follows one or more of these service models.

CONTENT

CREATION

SERVICE PROVIDER

INTEGRATED STUDIO- OFFSHORE FACILITY

CO-PRODUCTION HOUSE

INTEGRATED STUDIO-OWN CONTENT


CHAPTER - 4 (DATA ANALYSIS

&

INTERPRETATION)


DATA ANALYSIS AND INTERPRETATION

A)THE INTERVIEW CONDUCTED ON PRODUCERS FROM THE DIFFERENT

PRODUCTION HOUSES WHO ARE IN ANIMATION FILM MAKING BUSINESS:

1) Which factor was considered for deciding the location the film production house?

Finding- All production houses agreed on the fact that availability skilled labor is a factor

for the selection of location of film production house. And few agreed on the other factors

too like marketability and availability of technical support.

2) How the company is being financed?

Finding – four out of ten companies were equity financed and six were self financed.

So according to the report from the interview we found that most of the companies are self

financed and few of them equity financed. And out of those 10 companies none of them

were

Were financed through investment banks.

3) Type of job handled by the company?


Finding – 8 out of 10 companies were handling both outsourced and content job. And two

were handling only content job. So from the interview report we can say that most of the

companies have outsourced work with them and along with that they handling the content

job also.

4)Production house model followed by the company?

Finding – 4 companies were following both in house and negative production house

model.5 companies follow in house production model . One out of them deals with the

distribution only. All the production house model is being explained extensively in the

chapter one of the report.

B) THE QUESTIONNAIRE FOR COLLECTING THE NAME OF THE SOFTWARE

FOR DIFFERENT STAGES IN THE FILM PRODUCTION PROCESS WAS SENT TO

2000 ANIMATORS OUT OF WHICH 126 ANIMATORS RESPONDED.

The interest of the company was only in the 5 top software for the different stages of the

production process.


1) Character design:

In most of the cases paper and pencil is used for the above process. But animators use following

software for character design.

28 different software were suggested by the animators. But maya , flash , photoshop ,

3D studio max and illustrator were the top five software on the basis of count.

The count says the particular software was suggested by how many animators. so maya

was the most desired software for character design process.

2) Story board:

In most of the cases paper and pencil is used for the above process. But animators use following

software for storyboard.

27 different software were suggested by the animators. But photoshop , flash , toon boom ,

Illustrator and storyboard pro were the top five software on the basis of count. The count

says the particular software was suggested by how many animators. So photoshop is the

most desired software for storyboard process.


3) Creation of key design:

Following software are used for the process of creation of key design.

24 different software were suggested by the animators. But maya , 3d studio max , flash ,

photoshop and toon boom were the top five software on the basis of count. The count says

the particular software was suggested by how many animators. So maya is the most desired

software for key design process.

4) Creation of frame and model:

Following software are used for the process of creation of key design.

18 different software were suggested by the animators. But maya , 3d studiomax , z brush ,

flash and illustrator were the top five software on the basis of count. The count says the

particular software was suggested by how many animators. So maya is the most desired

software for frame and model process.


5) Animation:

Following software are used for the process of animation.

20 different software were suggested by the animators. But maya , 3d studio max , flash ,

toon boom and motion builder were the top five software on the basis of count. The count

says the particular software was suggested by how many animators. So maya is the most

desired software for animation process.

6) Ink and Paint:

Following software used for ink and paint process.

22 different software were suggested by the animators. But photoshop , flash , illustrator ,

maya and toon boom were the top five software on the basis of count. The count says the

particular software was suggested by how many animators. So photoshop is the most

desired software for ink and paint process.


7) Composition:

Following software is used for composition.

29 different software were suggested by the animators. But aftereffect , combustion , nuke ,

fusion , premiere were the top five software on the basis of count. The count says the

particular software was suggested by how many animators. So aftereffect is the most

desired software for combustion process.

8) Picture:

Following software is used for picture.

16 different software were suggested by the animators. But photoshop , premiere pro

,aftereffect , avid and combustion were the top five software on the basis of count. The

count says the particular software was suggested by how many animators. So photoshop is

the most desired software for picture process.


9) Dubbing and sound:

Following software is used for picture

25 different software were suggested by the animators. But sound forge , premiere pro ,

sound booth , protocol and after effect were the top five software on the basis of count. The

count says the particular software was suggested by how many animators. So sound forge

is the most desired software for dubbing and sound process.

10) Rendering:

Following software is used for picture.

19 different software were suggested by the animators. But maya , renderman , mental ray

, 3d studio max and v ray were the top five software on the basis of count. The count says

the particular software was suggested by how many animators. So maya is the most

desired software for rendering process.

Above information was obtained by using interview method for the production house. And

questionnaire method for animators.


PIE CHART ANALYSIS USING SAS

1) CHARACTER DESIGN:

The above pie chart shows frequency of the different software in character design process .

The software whose count is less than five is automatically dumped in to the “other” by the

SAS system. The exploded part shows the maximum frequency count which is “MAYA” in

the process of character design.

2) STORYBOARD:

The above pie chart shows frequency of the different software in story board process . The

software whose count is less than five is automatically dumped in to the “other” by the


SAS system. The exploded part shows the maximum frequency count which is

“PHOTOSHOP” in the process of story board.

3) KEY DESIGN:

The above pie chart shows frequency of the different software in key design process . The



the process of key design.

4) FRAME AND MODEL:

The above pie chart shows frequency of the different software in frame and model process .



the process of frame and model design.


5) ANIMATION:

The above pie chart shows frequency of the different software in animation process . The



the process of animation.

6) INK AND PAINT:

The above pie chart shows frequency of the different software in ink and paint process .



“PHOTOSHOP” in the process of ink and paint.


7) COMPOSITION:

The above pie chart shows frequency of the different software in composition process . The



“AFTEREFFECT” in the process of composition.

8) PICTURE:


The above pie chart shows frequency of the different software in picture process . The



“PHOTOSHOP” in the process of picture.

9) DUBBING AND SOUND:

The pie chart below shows frequency of the different software in dubbing and sound

process . The software whose count is less than five is automatically dumped in to the

“other” by the SAS system. The exploded part shows the maximum frequency count which

is “SOUND FORGE” in the process of dubbing and sound.


10) RENDERING:

The above pie chart shows frequency of the different software in rendering process . The



the process of Rendering .


CHAPTER – 5 Finding and Suggestion


FINDING FROM THE RESEARCH

1) 28 different software were suggested by the animators for the process of character

design. But maya , flash , photoshop ,3D studio max and illustrator were the top five

software on the basis of count. So “maya” was the most desired software for character

design process.

2)27 different software were suggested by the animators for the storyboard. But photoshop

, flash , toon boom , Illustrator and storyboard pro were the top five software on the basis

of count. So “photoshop” is the most desired software for storyboard process.

3)24 different software were suggested by the animators for key design. But maya , 3d

studio max , flash , photoshop and toon boom were the top five software on the basis of

count. So “maya” is the most desired software for key design process.

3)18 different software were suggested by the animators for frame and model. But maya ,

3d studiomax , z brush , flash and illustrator were the top five software on the basis of

count. So maya is the most desired software for frame and model process.

4)20 different software were suggested by the animator for animation process. But maya ,

3d studio max , flash , toon boom and motion builder were the top five software on the

basis of count. So “maya” is the most desired software for animation process.

5)22 different software were suggested by the animators for ink and paint process. But

photoshop , flash , illustrator , maya and toon boom were the top five software on the basis

of count. The count says the particular software was suggested by how many animators. So

“photoshop” is the most desired software for ink and paint process.

6)29 different software were suggested by the animators for combustion. But aftereffect ,


combustion , nuke , fusion and premiere were the top five software on the basis of count. So

aftereffect is the most desired software for combustion process

.

7)16 different software were suggested by the animators for picture. But photoshop ,

premiere pro ,aftereffect , avid and combustion were the top five software on the basis of

count. So “photoshop” is the most desired software for picture process.

8)25 different software were suggested by the animators for dubbing and sound process.

But sound forge , premiere pro , sound booth , protocol and after effect were the top five

software on the basis of count.So sound forge is the most desired software for dubbing and

sound process.

9)19 different software were suggested by the animators. But maya , renderman , mental

ray , 3d studio max and v ray were the top five software on the basis of count. The count

says the particular software was suggested by how many animators. So maya is the most

desired software for rendering process.


RESOURCE REQUIRED FOR ANIMATION FILM PRODUCTION (SUGGESTION)

FINANCE:

The investment required depends on the scale of operations of the studio. Depending on the size

of the project and the technology to be used, the financial resources differ. For example, some of

the products for online compositing cost from Rs.35 lakh to a few crores for a standalone

workstation. Similarly, the software used also drives the cost in terms of cost of software

licenses, employee skill development, server up gradation, etc. If the investment is large, it has to

be amortized over a period of time. It is not economically viable to buy a product for a single

transaction — it must be utilized for many projects. Measurement of ROI boils down to man-

hours used.

TECHNICAL:

In order to compete with the best global digital animation houses, it is necessary to deploy state-

of-the-art hardware and software. Since animation primarily deals with software, security

concerns from the data perspective are possible. There is a need for networks based on multi-

firewall protection along with daily backups and external backups. Constant up gradation to

advanced techniques for different animation value chain activities such as compositing must also

be done to match up to global standards. Other software such as project tracking software may

also be required depending on the level of operation of the studio. Another challenge is the huge

and continuous capital requirements. Technology keeps changing, so there is a need to constantly

update the hardware and software. Yet another challenge is the optimization of the CPU power

of the servers and IT infrastructure. Plug-ins, proprietary software available with vendors, or in-

house software helps in resolving this issue. Processes such as rendering use a lot of CPU power.

SKILL SET REQUIRMENT:

There is a lack of quality resources, limited training institutions and high attrition rates amongst

current skilled manpower. While there are 10,000-odd animators in the country presently, there

is a demand for at least 50,000. About 1000-1,500 animators are churned out every year but

animation studios feel that they need additional training to match international quality


benchmarks. In India, majority of the animation companies are small in terms of number of

employees. More than half of the companies are small with less than 40 artists. Some medium

size companies employing from 40 to 100 artists are into high quality work and have started

creating their own IP. A handful is large studios employing more than 140 artists and take up

most of the outsourced projects. These are well established in the domestic and international

markets and have been around for a longer period. A number of institutes have come up offering

courses in animation training. Some known institutes are MAAC, Whistling Woods, Industrial

Design Centre, IIT, Mumbai, National Institute of Design, Takshaa, Colour Chips Institute of

Entertainment & Media Arts, etc. Out of these institutes, very few offer training in creative

development, which is the need of the day. Studios also have to invest time and resources to train

new animation graduates before they become skilled enough to be productive. This adds to their

cost even as there is the risk after training that the worker may be poached by another studio.

Animators must have excellent creative and artistic abilities - a flair for drawing, sketching or

caricaturing (preferably a degree in graphic/applied/fine art), a good sense of humour and an eye

for detail. Good knowledge of conventional 2-D animation and handling current animation and

multimedia software i.e. ANIMO, MAYA, 3D Studio Max, Adobe After Effects, Tictactoon,

Flash, Giff Animator, ULead and good compositing software like Adobe Photo Shop, Adobe

Illustrator, etc. is required. While 2-D animation has almost stagnated globally, Flash and 3-D

animation, being much more realistic are the upcoming trends. The skill-set required for 3D

animation is far more intricate than for 2D and animation houses in the US, UK and Canada are

on the lookout for alternate low cost production centers for 3D animation. For the Indian

animation industry this is an excellent opportunity. While an animator can do an entire 2D frame

on his own, an entire team of artists have to work in tandem to get the lighting, composition,

modeling and rigging right to compose a frame in 3D.


CHALLENGES IN ANIMATION FILM INDUSRTY

While the Indian animation industry holds a large potential in terms of both domestic and

overseas demand, the industry needs to overcome significant challenges to realize this Potential.

1) LACK OF SKILLED MAN POWER:

Skilled man-power is the key for producing animated content. The Indian animation industry is

constrained on the talent supply side. As per Nasscom Industry Report 2009, manpower

requirement for animation in India is expected to grow from 17,500 in 2009 to 29,500 by 2012.

However, there are not enough resources available in this industry, and those who are available

are not readily employable. This is primarily due to the following reasons:

A) Low awareness of animation as a career option: This is especially true of Tier-2 and Tier-3

cities in India.

B)Existence of only a handful of institutes that provide relevant courses / degrees in animation

and gaming, the leading institutes in this domain being National Institute of Design, Toonz

Academy, Maya Academy, Arena Animation.

C) Lack of standardized and quality curriculum: Post-graduate / Degree / diploma courses in

animation are few in no. in India. Curriculum is not up to the international standards, thus

decreasing the employability of students in India.

2) LACK OF FUNDING:

Animation Entertainment industry in India pre-dominantly comprises small and medium sized

players operating across similar / different parts of the value chain. Currently, only 1 out of 5

movies in India are successful, making the production of Animation films very risky. Players are

not able to raise the required finance.

3) IP PROTECTION:

Rampant piracy of DVD-Based videos within the distribution channel eats into a major share of

revenues for the producers and distributors. This along with slack IP laws and weak enforcement

discourage animation players in India to produce their own IP.


Moreover, it also discourages International Players, who are generally very protective of their

IPs, to outsource to India.

4) CULTURAL CONSTRAINT:

Unlike mature markets abroad, where animation is seen by everyone, Indians still have the

animation-is-for-kids mindset. This impedes the growth of domestic market in India.

5) LACK OF GOVERNMENT SUPPORT:

Competing outsourcing destinations e.g. Canada, UK have signed tax treaties with the US. This

encourages growth of animation in the country. Indian animation players lack any such

Government support either through tax rebates or grants.

FUTURE OUTLOOK

The Indian animation is currently at a nascent stage, with a miniscule 1% share of the global

animation industry and ~8% share of the outsourcing work. This industry has demonstrated its

capability in delivering high quality, on time work and holds a promising potential both from the

domestic and the overseas demand market perspective. Increasing no. of co-production deals,

overseas expansion, increasing focus on IP development, attracting investments from Private

Equity / Other Funds – All these recent developments by Indian players bode positive for the

industry. Adequate supply of talent will need to be ensured to achieve the promise that this

Segment holds. Tax incentives / Government grants would also help in improving

competitiveness of the industry.


BIBLIOGRAPHY

1) EBSCO DATABASE

2) TATA ELXSI REPORT ON ANIMATION INDUSTRY

3) WWW.GOOGLE.COM

4) WWW.EHOW.COM

5) WWW.ALANGORDEN.COM

6) WWW.CHARCTERANIMATION 3D.COM

7) WWW.TESCRA.COM


ANNEXURE


QUESTIONS ASKED IN TELEPHONIC INTERVIEW TO THE PRODUCTION HOUSES

1) NAME OF THE RESPONDENT?

2) NAME OF THE COMPANY?

3) FACTORS CONSIDERED FOR DECIDING THE LOCATION OF THE

4) ANIMATION FILM PRODUCTION HOUSE?

5) HOW ANIMATION FILM COMPANY IS BEING FINANCED?

6) TYPES OF JOB HANDELED BY THE COMPANY?

7) PRODUCTION HOUSE MODEL FOLLOWED BY THE COMPANY?




CODES USED FOR ANALYSING THE RAW DATA THROUGH SAS

/**********************************************************************

* PRODUCT: SAS

* VERSION: 9.1

* CREATOR: KUNAL KISHORE

* DATE: 17 MAY 2011

* DESC: TO READ THE SURVEY INPUT FILE

* TEMPLATE SOURCE: Z:\Virtual Machine folder\SAS Work\KUNAL\DAKSAA

FILMS\RAW DATA

***********************************************************************/

data SASUSER.DAKSAAFILMS ;

%let _EFIERR_ = 0; /* set the ERROR detection macro variable */

infile 'C:\Documents and Settings\Administrator\Desktop\KUNAL.csv' delimiter = ','

MISSOVER DSD lrecl=32767 firstobs=2 ;

informat NAME1 $20. ;

informat COMPANY_NAME1 $31. ;

informat CHARACTER_DESIGN $21. ;

informat STORYBOARD $25. ;

informat KEY_DESIGN $20. ;

informat FRAME_AND_MODEL $19. ;

informat ANIMATION $17. ;

informat INK_AND_PAINT $17. ;

informat COMPOSITION $14. ;

informat PICTURE $13. ;

informat DUBBING_AND_SOUND $21. ;

informat RENDERING $13. ;

format NAME1 $20. ;

format COMPANY_NAME1 $31. ;

format CHARACTER_DESIGN $21. ;


format STORYBOARD $25. ;

format KEY_DESIGN $20. ;

format FRAME_AND_MODEL $19. ;

format ANIMATION $17. ;

format INK_AND_PAINT $17. ;

format COMPOSITION $14. ;

format PICTURE $13. ;

format DUBBING_AND_SOUND $21. ;

format RENDERING $13. ;

input

NAME1 $

COMPANY_NAME1 $

CHARACTER_DESIGN $

STORYBOARD $

KEY_DESIGN $

FRAME_AND_MODEL $

ANIMATION $

INK_AND_PAINT $

COMPOSITION $

PICTURE $

DUBBING_AND_SOUND $

RENDERING $

;

if _ERROR_ then call symputx('_EFIERR_',1); /* set ERROR detection macro variable

*/

run;.

DATA SASUSER.TESCRA;

LENGTH COMPANY_NAME $150. RESPONDENT $50. ;

SET SASUSER.DAKSAAFILMS;

IF COMPRESS(NAME1) NE "" THEN DO;


RESPONDENT = NAME1;

COMPANY_NAME =COMPANY_NAME1;

RETAIN RESPONDENT COMPANY_NAME;

END;

DROP NAME1 COMPANY_NAME1;

COMPANY_NAME = UPCASE(COMPANY_NAME);

RESPONDENT = UPCASE (RESPONDENT);

CHARACTER_DESIGN = UPCASE( CHARACTER_DESIGN);

STORYBOARD = UPCASE( STORYBOARD );

KEY_DESIGN = UPCASE( KEY_DESIGN );

ANIMATION = UPCASE( ANIMATION );

FRAME_AND_MODEL = UPCASE( FRAME_AND_MODEL );

INK_AND_PAINT = UPCASE( INK_AND_PAINT ) ;

COMPOSITION = UPCASE( COMPOSITION );

PICTURE = UPCASE( PICTURE );

DUBBING_AND_SOUND = UPCASE( DUBBING_AND_SOUND ) ;

RENDERING = UPCASE( RENDERING ) ;

RUN;

******************************************************

**************** ANALYSIS OF THE DATA*****************

******************************************************;

%MACRO PROCESS_SUMMARY(PROCESS);

PROC SUMMARY DATA = SASUSER.TESCRA NWAY;

CLASS &PROCESS.;

OUTPUT OUT = SASUSER.&PROCESS.(DROP = _TYPE_

RENAME=(_FREQ_=COUNT));

RUN;

PROC SORT DATA= SASUSER.&PROCESS ; BY DESCENDING COUNT ; RUN;

DATA SASUSER.TOP5_&PROCESS;


SET SASUSER.&PROCESS (OBS = 5);

RUN;

%MEND;

%PROCESS_SUMMARY(COMPANY_NAME);

%PROCESS_SUMMARY(STORYBOARD);

%PROCESS_SUMMARY(KEY_DESIGN);

%PROCESS_SUMMARY(ANIMATION);

%PROCESS_SUMMARY(FRAME_AND_MODEL);

%PROCESS_SUMMARY(INK_AND_PAINT);

%PROCESS_SUMMARY(COMPOSITION);

%PROCESS_SUMMARY(PICTURE);

%PROCESS_SUMMARY(DUBBING_AND_SOUND);

%PROCESS_SUMMARY(RENDERING);

RUN;











Summer Internship Report

Documents

research process

production process pipeline

particular production

production houses

indian animation film

production business

preproduction stage

indian animation industry