By definition animation is the putting together of independent images to form the
illusion of continuous motion. But what isn’t an illusion is the continuous forward motion
of the South African animation industry.
In June this year, South African animation was put onto the international stage when
the National Film and Video Foundation (NFVF) led a local delegation to the Annecy
International Film Festival in Annecy, France.
Says NFVF Communications & Public Affairs director Naomi Mokhele: “The South African
participation was the result of a fact finding mission that the NFVF undertook at Annecy
last year, the purpose being to evaluate the merits of a stronger South African presence
at this platform, as well as to explore and assess opportunities that the festival might
presents for the country’s growing animation industry. This also worked for us as part
of the France-South Africa Seasons 2012 / 2013.’
Industry organisation Animation SA, in partnership with the NFVF, the Department of
Arts & Culture, the French Institute in South Africa (IFAS) and the France-South Africa
Seasons, took an 18-person delegation to Annecy.
“The delegation included students, producers, filmmakers and animators,’ explains
David Whitehouse, chairman of the Johannesburg Chapter of Animation SA. “Our
delegates manned the NFVF stand at the festival, which turned out to be extremely
busy. A fantastically well-attended territory focus on South Africa was held, with
Bugbox’ Tim Argall as MC. This focus featured presentations from The Animation
School, Luma, Strika Entertainment and Triggerfish, and rounded off with a montage
showcasing a selection of what the South African animation industry has to offer.’
Long vs short
The majority of animation work in South Africa still lies in commercials, broadcast design
and visual effects, rather than in long form animation.
While some in the industry see this as a negative, Whitehouse believes that the very
foundations of the long form industry lie in the short form world.
“Although our long form industry is growing and the long form-specific skill sets of our
animators, technical artists and production staff have grown accordingly, we don’t yet
have enough long form productions taking place consecutively. So the commercials,
broadcast design and visual effects industries, with their ongoing requirement for
freelance talent, offer respite between long form productions,’ he comments.
Harry Ravelomanantsoa, chairman of the Cape Town Chapter of Animation SA, believes
the local industry is currently over supplied with animators. “What we are lacking are the
projects and the governmental structures to quick-start a more sustainable long form
industry.’
Animation SA member and director of the Kunjanimation Festival, Daniel Snaddon, adds:
“Not enough money is being spent on development to create sufficient content to
attract investment from overseas. All the companies in South Africa that have made any
content have started very slowly and many have made huge sacrifices of time and
energy (a feature project can take anywhere between five and to 10 years from idea to
completion). We need support from the private sector as well as government if we are
to make this sustainable.’
Despite these challenges there are a number of local long form projects in the pipeline.
Says Ravelomanantsoa: “Mind’s Eye Creative, Pollen and Sea Monster all have long form
projects in various stages of development, with potential starting dates staggered
within the next six to 12 months.’
Snaddon continues: “Strika Entertainment is on its third season of the worldwide
syndicated show Supa Strikas, which was the number 2 show on Nickelodeon in India
last year. We also have other independent producers like Bugbox, The Crucial Project
and Tin Cup TV all developing long form content.’
In addition, according to Whitehouse, there are a number of international co-
productions currently under negotiation, with both Cape Town and Johannesburg-based
studios.
Raised profile
The recent international critical and box success of Triggerfish’s first feature film,
Adventures in Zambezia, has helped to raise the profile of South African animation.
Says Ravelomanantsoa: “Such projects are great catalysts to demonstrate the quality
and capacity a destination like South Africa can bring to the international playing
field.’
Snaddon concurs. “And, I believe Triggerfish’s soon to be released second film,
Khumba, is going to create a reputation for being able to produce great looking product
for a fraction of the cost of a Hollywood production.’
Whitehouse adds: “Zambezia certainly made waves and, based on reactions to Khumba
at screenings in Annecy, I think the South African industry can look forward to being
taken a lot more seriously as the film is released theatrically worldwide.’
Both films are stereoscopic 3D releases. Ravelomanantsoa believes this format is very
much flavour of the month. “Unless the technique is directly required or dictated by the
story, I don’t think releasing it in 3D will influence the audience that much. It can affect
box-office in that 3D movies tickets are more expensive.’
Whitehouse is not a big fan of the format. “However, as far as theatrical animation
releases are concerned, I don’t think production companies have much of a choice
because distributors demand stereoscopic.’
As to whether the animation genre will sustain its current popularity, Ravelomanantsoa
responds by describing animation as a style of storytelling that has stood the test of
time. “Studios such as Disney/Pixar, Dreamworks and Blue Sky have certainly helped
bring animation back into the limelight but more independent movies will continue to be
a big part of our cinematic culture, worldwide.’
According to Snaddon, animation certainly is more popular now than it ever has been
before. “However, only once a film has doubled its budget at the box office does it start
to make money. So, if you spend $100m on a film (common these days for an animated
feature), it’ll need to rake in $200m before you start to see a return. These huge
numbers have made the studios a little jumpy, which is why we’re seeing so many
sequels at the moment.’
Back to the basics
With the current craze for 3D animation, it’s comforting to know that 2D is still very
much alive and kicking. As Ravelomanantsoa points out, more than 70% of television
series are still produced in 2D.
“Lately more and more feature films have been done in 2D as we can see from the likes
of The Congress (Israel), The Suicide Shop (France), Winnie the Pooh (USA), and not
forgetting new series of all the classical superhero brands being rebooted by Marvel, DC
Comics and Hasbro. The fact that Disney announced that they will not be doing
traditional animation anymore doesn’t mean that they will not be producing in 2D; it
simply means that they will not longer be using the traditional paper based animation
style. Furthermore, their TV division is still producing more 2D than 3D,’ he says.
Snaddon comments: “If you watch kids and cartoon channels, you will see lots of 2D
animation, such as Adventure Time, Sponge Bob to Ben 10.’
Kunjanimation
Animation SA is partnering with Wits University, IFAS and DISCOP AFRICA this year to
stage the third edition of its annual animation festival Kunjanimation, which runs from 3
to 9 October in both Cape Town and Johannesburg.
“Kunjanimation comprises screenings, exhibitions, workshops and events. For anyone
interested in learning more about the South African animation industry, meeting French
animation producers, or seeing awesome local and international animated content,
please check out our website at: www.kunjanimation.org,’ states Snaddon.
Cape focus
The Cape Film Commission (CFC) regards animation as a major growth industry. Says
CFC CEO Denis Lillie: “The success of Triggerfish, Sunrise Productions, Strika
Entertainment, BlackGinger and many others based in the Western Cape indicate the
growth and international success of these businesses, which are now producing locally
and selling content internationally. Cape Town and the Western Cape are the largest
producers of animation on the African continent.’
Lillie notes that the CFC was instrumental, in partnership with Animation SA, in the
establishment of the Animation Academy at False Bay College. In other activities, the
CFC partnered with the Department of Trade & Industry to organise a delegation of
animation filmmakers to attend Annecy.
“We also worked very closely with Animation SA and representatives of the animation
industry to put together a funding application for job creation under the Development
Bank of Southern Africa Jobs Fund earlier this year,’ he says.
In addition, the CFC has been working with MICT SETA (Media Information
Communication Technologies Sector Education & Training Authority), False Bay College
Animation Academy and the Animation School, together with the industry in the
Western Cape, to ascertain training needs.
Last year the CFC hosted the International Emmy semi-final judging for Kids Animation.
Lillie explains: “Through this judging process we realised that our local content is up
there with the rest of the world. Also, some of our members were able to attend the
Kids Emmys in New York in February this year, where they were able to network with
Disney, Nick Jnr, Pixar, etc.’
Recently the CFC received an enquiry from a high profile international animation
company and merchandising operations business to assist them in the development of
some of their content and support their growth plans.
“This gives an indication of the level of interest there is in our animation industry,’
concludes Lillie.
