It's a 3D world after all

SAY "3D animation'' to someone, and invariably images of computer games such as Tomb Raider, Quake IIII and Final Fantasy will come to mind.

I mean, these days, Lara Croft is bigger than many entertainment icons can ever dream of becoming, with her own line of merchandise (including comic books, a trading card game, T-shirts and posters), an innumerable number of dedicated websites, and an upcoming motion picture starring Angelina Jolie (check out the trailer at http://tombraider.real.com/filmsites/tombraider/).

In the United States and Europe, 3D animation is a relatively common form of media, used in movies, advertisements and TV shows. (Fine examples of the last include the animation series Beast Wars: Transformers and Roughnecks: The Starship Troopers Chronicles).

It seemed like it was only yesterday (actually, it was more like a few years ago) when the cartoons we watched used two-dimensional, hand-drawn animation. Now the whole world's going 3D.

But what about Malaysia?

Let's just say that you would have to look real hard to find local companies that specialise in 3D animation. One of the few notable ventures was "Tyco,'' touted as the first local "virtual pop group'' (see In.Tech, Nov 14, 2000).

"Voiced'' by local pop-rap group KRU, Tyco's relatively successful self-titled debut is among the country's top-selling local albums according to the RIM charts.

While 3D animation is pretty widespread in TV commercials and corporate presentations, we're still waiting for our first locally-developed computer game. (Yes, there are some folks working on this).

So don't count on seeing a fully 3D movie character like the much-debated (should we kill him now ... or later?) Jar-Jar Binks of The Phantom Menace any time soon; the way things stand, it'll be quite an achievement just to see a Malaysian animated series completed this year.

Locals not good enough?

The number of local companies specialising in 3D animation techniques is still small. This is understandabe since there are limited opportunities in the Malaysian market.

But according to some, Malaysian companies themselves seem generally reluctant to actually hire or use Malaysian 3D animation companies, simply because they believe locals are simply not good enough.

"I think that some local clients think Malaysians are not good enough (for 3D animation jobs). They feel that you have to get overseas companies if you want 'better standards,' '' said Alain Zaugg, managing director of Optidigit Sdn Bhd (http://www.optidigit.com/).

Calling itself "a digital post-production studio,'' the Kuala Lumpur-based company has done 3D animation work on films, documentaries, websites and music videos.

"The only way we can change this perception is to get more international clients,'' he said -- at least this would help promote the idea that local animators are as competent as, if not better than, their foreign counterparts.

Optidigit seems to be doing just that. Other than producing advertisements and corporate videos, it has also created a "virtual supermodel'' named Webbie Tookay (http://www.illusion2k.com/), "who'' was used by Elite Models in New York fashion shows last year.

More economical here

Cyberjaya-based Persistence of Vision Sdn Bhd (http://www.povfx.com/), or POV for short, is in the midst of producing several episodes of the first season of 3D animated series Stevie Stardust for Stardust Entertainment Production of Germany.

HEADING FOR BIG TIME ... Stevie Stardust is scheduled for completion by year-end, and could debut in the United States and Europe by next year.

POV's other notable project is the creation of the virtual hostess "Myra'' for the Astro TV programme Domain Myra, a half-hour show on gadgets, websites and "cyber-culture.''

"We are very competitive, as it's only half the cost here if we were to produce a single episode (of a 3D animated series), compared to what animation houses in North America would charge,'' said Steve Bristow, executive director of POV and also managing director of Fat Lizard Sdn Bhd (http://www.fatlizard.com/), another animation outfit that produces advertisements.

Getting foreign customers can also help make a difference between profitability and loss.

At least that is what Frames Production Sdn Bhd's managing director and creative director Pierre Nayagam seems to think so.

He said that 70% of his company's projects now come from abroad.

"Before our overseas clients came in, Frames (http://www.frames.com.my/) was just concentrating on survival,'' he added.

No lack of talent?

It used to be difficult to hire 3D animators, at least until several years back. These days, many colleges offer a wide variety of multimedia courses.

Details on the popularity of tertiary arts and design courses with a focus on 3D animation are sketchy at best, but the companies agree that finding fresh graduates has become easier now.

But some in the local 3D animation industry seem to think that finding talented and hardworking graduates is a different kettle of fish altogether.

Goh Aun Hoe, animation director for Silver Ant Sdn Bhd, felt that "talented 3D animators are still hard to come by.''

"It is getting harder and harder to find good graduates with enough potential and a good attitude nowadays,'' lamented Goh, who also lectures part-time at The One Academy of Communication Design.

According to Moon K. Chan, managing director of VHQ Post (M) Sdn Bhd (http://www.vhq.com.my/), many graduates seem content to learn just what is being taught in their courses.

"Instead of just doing their homework, they should do more to experiment and explore new animation techniques,'' he advised.

Seamus Tan, the digital animation department head of The One Academy, said his school is doing its best to maintain its standards.

"Our syllabus is updated every semester. We also keep in close contact with the people working in the 3D animation industry so that our students are exposed to the latest techniques,'' he said.

Hurts the industry

Chan said he was "apprehensive'' about the current state of the local 3D animation industry.

"It is getting common for fresh graduates to set up their own two or three-men companies to offer '3D animation' work for corporate clients at extremely low prices,'' he said. "This happens because many small companies are not willing to pay.''

"This hurts the industry,'' he claimed, since the quality of work produced usually does not reflect the "best we have to offer.''

"One has to go through years of hard work'' before setting up his or her own company.

"You have to eat and breathe animation, since exposure (to various techniques) is crucial; the key really is research and development,'' he said.

R&D is not just about pouring money into infrastructure, hardware and software, which Malaysians do very well, he said, but rather ensuring that "the manpower pool is the best we can train.''

Young prodigy

Still, this does not mean you have to complete your studies and work for years and years before finally getting some recognition.

Exceptions do occur -- just check out 20-year-old Tan Jin Ho's personal work, A Malaysian Friday (see accompanying story).

Chan said he was very impressed by the texturing generated by Tan, a student of the Limkokwing Institute of Creative Technology.

Stressing repeatedly on the need for budding local animators to "specialise'' in distinct areas (such as modelling, texturing, and movement), he said that "if there was a need for the same sort of texturing work,'' he'd pay any amount Tan asks for.

"There's no one else in the country doing it,'' said Chan.

Animation was "a very disciplined process,'' and the industry has to continue to look after itself, which was why Postam (the Association of Post-Production & Animation Companies) was set up.

Postam (http://www.postam.gov.my/) is supposed to be the consultative body for post-production and animation companies in Malaysia, and currently has more than 20 members.

Chan is also chairman of the association. One of the main reasons it was formed was because these companies needed an effective industry representation.

"It was easier to hold dialogues with the Government. Besides, we also act as a 'guardian' of ethics and professionalism for the industry,'' he added.

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