Pickle Annecy July 2023 Edition

SPOTLIGHT MEXICO COUNTRY OF HONOUR

FROM THE EDITOR

We are delighted to present the latest issue of the Pickle AVGC (Animation, Visual Effects, Gaming, and Comics) edition to the delegates at the Annecy Festival and MIFA Market. No other major audiovisual film festival or market is embraced as passionately by content creators, streamers, and broadcasters as Annecy and MIFA. Undoubtedly, it is the biggest animation film festival and market in the world.

For the first time in recent years, there is significant participation from India, with over 100 delegates representing 50 Indian animation and VFX studios attending the Annecy MIFA Market. The Ministry of Information & Broadcasting has set up the India Stand (F31) at Annecy MIFA, managed by the National Film Development Corporation, with a focus on showcasing India’s creative economy. India’s objective is to promote the “Create in India for the World” campaign, foster international partnerships, promote its animation and VFX capabilities, and create new opportunities for Indian animators, studios, and content creators.

We have conducted an insightful interview with Apurva Chandra, Secretary of the Ministry of Information & Broadcasting, who provides a clear picture of India’s commitment to creating an enabling environment for the AVGC industry to grow by leaps and bounds. The AVGC Task Force has submitted its report, which the government is actively pursuing to promote this sector. India has established audiovisual co-production treaties with 16 countries and announced incentive schemes to encourage collaboration with international filmmakers. India’s animation and VFX capabilities, post-production services, shooting locales, and incentives make

it an attractive proposition for global partners seeking growth opportunities. We also have interviews with champions of this sector (who are also AVGC Taskforce members) to spotlight India as a window of opportunity for the world. India has four short films in the competition section at Annecy, and two projects are in MIFA Pitches.

Annecy 2023 has achieved a historic milestone, with 15,640 delegates from 103 countries set to attend. Hollywood studios such as Disney, DreamWorks, and Pixar, as well as streaming platforms like Netflix, Paramount, and Warner Bros, are present at Annecy. There are over 700 delegates from the USA. Disney, currently celebrating its 100th anniversary throughout the year, will have a special screening of “Fantasia 2000.” Mexico is the spotlight country of honor this year at Annecy.

In India, innovation and digital transformation have opened up new platforms and avenues of growth for the media and entertainment sector. Intellectual Property (IP) is the most important asset for many companies, and Indian animation and virtual production studios are increasingly focusing on this area.

India’s thriving media and entertainment industry offers appealing growth opportunities for both global and domestic businesses, and the government’s initiatives are aimed at maximizing the sector’s potential.

Please email your views and suggestions, and we will gladly address any inquiries you may have about cooperating with Indian media and entertainment companies.

n vidyasagar pickle media nat@pickle.co.in, www.pickle.co.in

natvid@gmail.com / pickle@pickle.co.in

Senior Editor : Vivek Ratnakar

Editorial Coordinators : Maitreyi Vidyasagar, Shruti Sundaranand

Design: Jose J Reegan, D Sharma

Photo Editor : K K Laskar

Admin & Operations : B Rajalakshmj

Email: natvid@gmail.com

ANNECY FESTIVAL

SIX DECADES OF RECOGNITION

After more than 60 years of Festival and close to 35 years of MIFA India’s top animation and VFX professionals and business leaders have applauded the initiatives taken through the Annecy Film Festival

For six decades this iconic event has captivated audiences and shaped the world of animation. From pioneering techniques to groundbreaking storytelling, the festival has influenced countless artists sparking creativity and pushing the boundaries of the medium. Here’s to 60 more years of animated brilliance.

CEO at Toonz Media Group

Warmest congratulations to Annecy Film Festival on reaching a remarkable milestone. It brings me great joy to extend my heartfelt appreciation for six decades of promoting the art of animation in all its glorious forms.

The longevity of the Annecy Film Festival is a testament to the passion, commitment, and unwavering pursuit of excellence by the organizers, jury members, filmmakers, and animation enthusiast who have contributed to its success over the years.

May it continue to be a shining example of artistic brilliance, innovation, and celebration of the most wonderful art of animation.

Co-Founder and Chief Creative Officer, Paperboat

I take this opportunity to congratulate all the team members who built the legacy of Annecy culture over the past 60 years. With a dedicated focus on Animation - the Annecy festival has held the spirit of Animation designers & creators high. It’s one great amalgamation of all styles & designs of Animation story telling from all over the world at Annecy year on year - resulting into the evolving global animation culture. Jai ho.

ASHISH S K, Chairman, FICCI AVGC-XR FORUM & Founder Punnaryug Artvision Pvt Ltd

Creative breakthroughs are experiential. They come from the heart and soul of the artist’s journey! Annecy is representative of that destination where artists and producers find their North Star! Year after year, through thought and action, they discover the unfolding, cutting-edge which decodes the ‘multi layered’ intricacies of what animation does to advance the art and the science of storytelling. I come here to immersive myself in what’s breaking new and captivating and to get inspired by global creatives (often students) who shine under the spotlight of this pinnacle of competitions, screenings and markets in our craft. This year is my 22nd pilgrimage to this magnificent festival. Savouring the moment and complimenting the CITIA crew.

BIREN GHOSE

Country Head of Technicolor India and Vice Chairman of CII National Committee on Media & Entertainment

Annecy was my first animation festival and hence it will always be special. My best memories from Annecy are watching some amazing animation films on the giant screen by the lake with beer and friends from around the world. Goosebumps! It’s an unbeatable experience. It’s hard to believe Annecy has completed six decades, it still manages to retain its fresh teen spirit. I love to attend Annecy as it always recharges my creative force. It truly celebrates the art of animation and am sure it will continue to inspire next generations of animators. Annecy pour toujours !

MUNJAL SHROFF

Director & COO Graphiti

It is events like Annecy which show us how to live animated and not animatronic. As Annecy crosses six decades, we remember the several years of creative exposition, of bringing the Animation world together, and of celebrating generations of genius creators from across the world. And we wish that may this effort continue long… And forever!

CHAITANYA CHINCHLIKAR

Vice President & Business Head

The festival has been a great platform for us and the animation industry, bringing together animators, creators, and enthusiasts from around the world to celebrate the art and craft of animation.Annecy festival has helped us source diverse range of themes and narratives, exploring the limitless potential of animation as a storytelling medium.

MANOJ MISHRA

Chief Executive Officer Powerkids Entertainment

Chief

Technology

Officer & Head of Emerging Media Whistling Woods International

The Annecy Film Festival has been a mesmerizing celebration of animation for 60 decades. This prestigious event continues to captivate audiences with its extraordinary showcase of artistic talent and innovation. From its humble beginnings to its global recognition, Annecy remains a beacon of inspiration, fostering creativity and pushing the boundaries of storytelling in the world of animation.

MIKE (MADHAVA REDDY) YATHAM

Founder-CEO Rotomaker General Secretary, TELANGANA VFX ANIMATION AND GAMING ASSOCIATION (TVAGA)

JAYAKUMAR PRABHAKARAN

SOUMITRA RANADE

THE SUCCESS OF MIGHTY LITTLE BHEEM AND OTHER INDIAN IPS GLOBALLY HAS PROVEN THE MPORTANCE OF REGION AGNOSTIC CONTENT AND THE CALIBER OF HOME GROWN IPS. I BELIEVE THIS IS THE RIGHT TIME TO MOVE FORWARD AND TAKE OUR RIGHTFUL PLACE IN THE GLOBAL ANIMATION INDUSTRY

INDIAN IP CASE STUDY INDIA’S CHHOTA BHEEM GETS BIG GLOBAL REACH

With Mighty Little Bheem going global, its creator and producer, Rajiv Chilaka, Founder and CEO, Green Gold Animation, says the IP industry of India is growing and there are a lot of stories to be told from India to the world

Chhota Bheem’s journey to the small screen was by no means an easy one. I realised the huge opportunity in our country for original Indian Kids IP content. Chhota Bheem was an idea conceptualized in 2004 itself. The industry at that time was not open to many ideas and the scope of an indigenous IP was minimal. But the potential was there to be tapped into. I truly believed that kids would connect with and love a character that they could relate to and thus decided to focus on creating IP content for Indian audiences.

Multiple pitches and

numerous iterations later, we finally got the green signal from Pogo to create the Chhota Bheem show in 2007. Looking back, today the amazing love and acceptance shown by kids towards Bheem makes the arduous journey worth every moment. The love for Bheem ensured that Chhota Bheem never went

off air in India since its pilot episode. A decade of Bheem entertaining kids in different avatars, the latest of which is Mighty Little Bheem. Bheem today has an audience of over 100 million and growing.

I have always believed that the love for Bheem is universal but Mighty Little Bheem was the litmus test. We put our heart and soul in creating Mighty Little Bheem. It was a departure for us as well from our conventional projects as it was our first preschool show. The entire creation process has been a brilliant rollercoaster and an eye opener for us. Creating a non-dialogue

Rajiv Chilaka , Founder and CEO, Green Gold Animation.

music driven show that transcended cultural and geographical boundaries has been a revelation. More so was the response to the show. It became the second most watched preschool show on Netflix USA within the first few months itself and is performing equally well in

Brazil, Mexico and other territories. Bheem today is a loving part of homes across 190 countries.

Chhota Bheem, the brand, has been growing for the last decade. When we realised the popularity of Bheem, we also realised that every kid wanted to have Bheem for themselves. Thus started our Merchandising journey. From a few comics and products, we have grown our presence to exclusive retail, modern trade, ecommerce as well as licensing. With over 100 brands partnering with us over the last decade, Chhota Bheem has consistently been among the most recognized and recalled kids brand in India.

Animation industry of India is at an excess of INR 107 billion with a projection to reach INR 180 billion by 2024. With a population of over 375 million between ages of 1-14 in India itself, this trend will only improve upon in the coming years.

Even though 70-80% of animation revenue

in India comes from international projects, India’s share in the global industry is less than 1%. Immense potential is here. With the advent of OTT, the average content consumption in India has gone up from 450 hours a year, to almost 6000+ hours a year in the last 5 years. Animation has had a big role to play here. The success of Mighty Little Bheem and other Indian IPs globally has proven the importance of region agnostic content and the caliber of home grown IPs. I believe this is the right time to move forward and take our rightful place in the global animation industry.

The ease of access to global content has evolved the audiences taste and raised the standards for all creators. The quality and the ability of it to connect across regions is paramount. . The world is becoming a smaller place. And there is so much potential to do stories which are from India, of Indian stories.

THE EASE OF ACCESS TO GLOBAL CONTENT HAS EVOLVED THE AUDIENCES TASTE AND RAISED THE STANDARDS FOR ALL CREATORS. THE WORLD IS BECOMING A SMALLER PLACE. AND THERE IS SO MUCH POTENTIAL TO DO STORIES WHICH ARE FROM INDIA, OF INDIAN STORIES

ADVANTAGE INDIA IN AVGC

India offers certain advantages that position the country as a promising destination for the AVGC sector, offering a favorable environment for growth, innovation, and market expansion. Here are 10 of those advantages

1 4

High Growth Potential: India’s AVGC sector is experiencing rapid growth, presenting abundant opportunities for startups and investors alike.

Large Talent Pool: India boasts a vast pool of skilled and talented professionals in game development, animation, and visual effects, providing a competitive advantage for AVGC startups.

Cost-Effective Production: The cost of production in India is relatively lower compared to many other countries, making it an attractive destination for AVGC companies seeking cost-effective solutions.

Cultural Diversity: India’s rich cultural heritage and diverse traditions offer a unique resource for creative inspiration, storytelling, and creating immersive gaming experiences.

Localization Expertise: With its multilingual and multicultural population, India has a deep understanding of local player preferences and can cater to diverse target markets effectively.

Access to the Global Market: Indian AVGC companies have the opportunity to reach a global audience due to the widespread use of digital platforms and the increasing popularity of gaming worldwide.

6 3 9 10

Government Support: The Indian government has recognized the potential of the AVGC sector and provides various incentives, grants, and policies to support its growth, including initiatives such as the National Centre of Excellence in Animation, Gaming, and Visual Effects.

8 2

Collaborative Ecosystem: India’s AVGC sector benefits from a collaborative ecosystem that fosters networking, knowledge-sharing, and partnerships between startups, established companies, educational institutions, and industry associations.

Emerging Technologies: India has a vibrant technology ecosystem, enabling AVGC startups to leverage emerging technologies such as virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) to create innovative and immersive gaming experiences.

7 5

Rising Domestic Market: The increasing popularity of gaming among Indian consumers, coupled with rising disposable income and access to smartphones, presents a significant domestic market for AVGC startups to tap into.

COME CREATE IN INDIA FOR THE WORLD

In an interview with Pickle, Apurva Chandra , Secretary, Ministry of Information and Broadcasting, Government of India, shares the Government’s role as a facilitator and enabler of the Media and Entertainment industry as he highlights the evolution of the Indian AVGC sector and its growth potential and steps being taken by the Government along with initiatives to encourage filming, co-production, and post-production.

What is the Government’s stance on the Media and Entertainment Industry in India?

India’s M&E Industry is standing at the cusp of transformation. It is valued at around $27 Bn and is expected to grow to US$ 35.5 billion by 2025. The sector has witnessed significant innovation and dynamic technological advances, driven by increasing importance on content and better technology adoption, availability of low cost and high skilled talent, mobile -first gaming

population with rising internet & smartphone access and local games targeted specifically at local audience.

Recognizing the significant potential of this sector, the Government aims to be a facilitator and enabler of the M&E industry. We recognize the Industry’s rapid growth, but we are also cognisant of the need to catch up with global standards. The Government of India is vigorously working towards achieving these objectives.

Apurva Chandra , Secretary, Ministry of Information and Broadcasting, Government of India.

Can you throw some light on how the Indian AVGC sector has evolved over the years?

It began with the establishment of the Cartoon films unit by the government in Mumbai in 1955, which laid the foundation for animation filmmaking in India. Prominent filmmakers like Ram Mohan, Bhim Sen, and VG Samant emerged during subsequent decades and produced award-winning films, including the first animation telefilm, “Banyan Deer.”

The Indian Animation Industry witnessed a significant leap in 1992 with the creation of the popular character ‘Meena’ and her parrot ‘Mithoo,’ aimed at raising awareness about female infanticide under the auspices of UNESCO. This character inspired the creation of ‘Sana’ in the African context. Notably, the industry co-produced the landmark animation movie ‘Ramayana’ with Japanese assistance, showcasing the collaborative nature of the sector.

The AVGC sector is gradually making progress with the adaptation of world-class techniques and innovative technologies coupled with immense talented pool in the country. The new potential of AVGC-XR sector has now made a huge inroad into the Media and entertainment sector, education sector etc which alone has the potential to create over 20 lakh (2 million) new employment opportunities.

We are also happy to see many international studios setting up their captive studios in India to benefit from the talent of Indian AVGC artists. Indian studios have also been exporting their services to international clients and studios as the cost of technology is comparatively lower in India.Looking at the huge India Opportunity presented by the Animation, Visual Effects, Gaming, and Comic (AVGC) sector, could you share your perspective on the growth potential of this industry in India?

India’s AVGC sector has shown steady growth in recent years and has emerged as a sunrise sector both at the national level as well as globally. The sector is expected to grow 2.2 times over the next four years driven by market forces and constitute about 1.5% of the global AVGC market. We aimed at capturing upto 5% or more of the global market by 2030 with right sets of intervention.

Recognising this immense potential both in terms of providing employment opportunities, generating original IP s from India and also contribution towards revenue generation in the service sector through exports, the Union finance Minister in the 2022 budget speech announced the formation of the Task Force on AVGC headed by the Secretary, Information and Broadcasting, Government of India. The task force comprising of inter Ministries officials, industry experts on this field has since then had several rounds of meetings and has now submitted the task force reports. The task force report brings out the existing scenario of the AVGC sector in the country and its potential. Also the major part of the report is the draft National and model Draft State Policy on AVGC. One of the biggest advantage for India is the demographic dividend which has a promising talent pool not only from cities but also from tier 2

IS GRADUALLY MAKING PROGRESS WITH THE ADAPTATION OF WORLDCLASS TECHNIQUES AND INNOVATIVE TECHNOLOGIES COUPLED WITH IMMENSE TALENTED POOL IN THE COUNTRY.

WE ARE COMMITTED TO PROVIDING INCENTIVES FOR THE ANIMATION AND VISUAL EFFECTS INDUSTRY, AS WELL AS SUPPORTING PRE AND POST-

and tier 3 cities. By providing vibrant ecosystem that supports the AVGC sector in all parts of the country, we would be the centre of attraction for any content creation be it the original IP s from India or from works outsourced to Indian and foreign companies based in India. For instance, India based Animation Company 88 Pictures have now set up their facilities at Toronto. The Country is being seen as the primary destination for high-end, skill-based activities in the AVGC-XR sector and increasing number of global players have expressed interest in the Indian talent pool to avail offshore delivery of services. You may like to recall the example of one of the biggest leading Visual Effect Facilities - Industrial Light and Magic (ILM) has decided to set up studio in Mumbai and expected to start functioning as early as this Calendar year.

We are committed to providing incentives for the animation and visual effects industry, as well as supporting pre and post-production activities in India.

Our message to the world is that India is ready to welcome filmmakers and storytellers from across the globe to come and create in India for the world.

Can you tell us more about the incentives and support that the Indian government is providing to encourage filming, coproduction, and post-production in the AVGC sector?

The Government aims to promote ease of doing business in all sectors including the media and entertainment sector. For ease of Filming and post-production related works,

we have established the Film Facilitation Office (FFO) under the National Film Development Corporation (NFDC). The FFO facilitates domestic and international filmmakers, acting as a single window for central and State Government permissions and incentives which are being offer both by the Central and the State Government.

Since the launch of Financial incentives in May 2022 for Audio-Visual Co-Productions with foreign Countries and for shooting of foreign films in India, there has been huge interest being shown by several foreign film makers and also from different Countries that has already signed Audio Visual Co-Production Agreement with India. We have started disbursing the incentives too in this regards. It is noteworthy to mention that in the last 1 year since May 2022, over 39 international projects have been accorded permission for shooting in India.

In terms of incentives, we have announced schemes for foreign productions in India. Qualifying productions can claim reimbursement of up to 35% of their qualifying expenditure in India, in addition to tax credits such as GST benefits. This incentive scheme is also applicable to co-production under bilateral treaties. The scheme is also unique in the sense that we have included not just film shoots but also pure postproduction, animation and visual effects projects also as eligible for incentives. Today we have already signed bilateral audiovisual co-production agreements (AVCAs) with 16 Countries around the world, and presently pursuing with over 20 countries including Nigeria, Mexico, Colombia, South Africa etc to foster collaborations and provide better access to markets.

That sounds like a comprehensive approach to attract international

collaborations. Moving on to the AVGC policy, could you provide insights into the government’s strategy to develop a national policy for the AVGC sector?

The Government is taking concrete steps to provide a boost to the AVGC sector in the country. We recognize the importance of a

comprehensive National Policy for the AVGC sector. The AVGC Task Force report has laid the foundation for this policy, and we are currently in the process of finalizing it. By way of a National Policy for AVGC, MOIB has put together certain priority pointers for different machineries across areas of enhancing the industry’s market access, focused skilling, and mentorship initiatives, standardising AVGC education, increasing access to technology for all in the sector, enhancing the sector’s financial viability and ultimately promoting creation of high-quality content in India.The policy will encompass various interventions to stimulate the growth of the AVGC sector in India and help establish the country as a global hub.

Ministry is actively considering setting up of national centre of excellence for AVGC-XR which is being proposed to be set up with industry partners as major stakeholders. This is being done to ensure that this Centre is industry driven and that the best of both human and infrastructure requirement is being met as with changing times to keep pace with the industry demands. This centre will act as the main hub for driving visions and objectives of AVGC as planned to be roll out through the country and meet the objectives of National and State AVGC policies.

How is the AVGC sector being promoted at State Level across the country?

State Governments have either laid out AVGC polices or are proactively working to fine-tune and update existing AVGC policies to promote the AVGC ecosystem in the state and region. It is noteworthy to mention that few states like Karnataka, Telangana and Maharashtra has been leading in this front and had set up their own policies and related infrastructures and is now reaping the fruit from this sector. Similar to the boost given by Software Technology Parks of India (STPI) to the IT industry, AVGC sector is among the priority areas of STPI to work with State Governments to create Centres of Excellence in the AVGC and immersive media

SIMILAR TO THE BOOST GIVEN BY SOFTWARE TECHNOLOGY PARKS OF INDIA (STPI) TO THE IT INDUSTRY, AVGC SECTOR IS AMONG THE PRIORITY AREAS OF STPI TO WORK WITH STATE GOVERNMENTS TO CREATE CENTRES OF EXCELLENCE IN THE AVGC AND IMMERSIVE MEDIA VERTICALS

Moving on to the strength of Indian animation and VFX companies, India has been making significant contributions to the global AVGC industry. Could you highlight India’s strengths and its ability to produce VFX for Oscar-winning films?

India’s animation and VFX companies have showcased their talent and expertise on the global stage. Indian studios have been involved in the production of several Oscarwinning films, delivering exceptional visual effects and animation. This demonstrates the strength and capabilities of Indian companies in providing high-quality VFX services.

The talent pool in India is a major asset. We have a large number of skilled professionals in animation, VFX, gaming, and comics.India is being seen as the primary destination for high-end, skillbased activities in the AVGC-XR sector and increasing number of global players have expressed interest in the Indian talent pool to avail offshore delivery of services. The recent Oscar winning movie RRR had all the VFX and post production works done in India by Indians.

Just to mention few globally acclaimed projects, you may like to recall the fact that movies like Avengers-Endgames, Black Panthers, Mission Impossible etc being done by Prime focus ltd.(DNEG) a company based out of Mumbai. Further there has been several blockbuster and highly acclaimed movies like Top Gun Maverick, the Lion King, Guillermo del Toro’s Pinocchio, that won the best Animated Film at Oscar 2023etc. amongst others whose considerable parts of the film shots were done by Technicolor India based out of Bangalore office. There are several factors that serve as India’s strengths in this context:

 Government’s support in the form of policies and incentives.

 Demographic dividend

 Strong IT ecosystem, and rapid technological advancement

 Increase in skilling and training opportunities. For instance, more than 150 institutions are offering AVGC courses in the country, and 1,15,000 training programmes are being conducted every year for skill development and education in this sector.

TODAY WE HAVE ALREADY SIGNED BILATERAL AUDIOVISUAL CO-PRODUCTION AGREEMENTS (AVCAS) WITH 16 COUNTRIES AROUND THE WORLD, AND PRESENTLY PURSUING WITH OVER 20 COUNTRIES

OVER THE YEARS, INDIA HAS GRANTED OFFICIAL COPRODUCTION STATUS TO 14 FILMS, AND THE GOAL IS TO INCREASE THIS NUMBER AND ENCOURAGE MORE FILMS TO BE COPRODUCED. IT IS NOTABLE THAT OUT OF THE 14 PROJECTS GRANTED COPRODUCTION STATUS THREE PRODUCTIONS NAMELY MIA AND ME (INDIA- GERMANY)

SCHIRKOA (INDIA-FRANCE) AND NOAH’S ARK (INDIA-BRAZIL) ARE ANIMATION FILMS

verticals. For example, in an attempt to create an entrepreneurial ecosystem, STPI has already set-up a CoE for start-ups working in IoT (Internet of Things) at Guwahati, and another one at Shillong exclusively for animation startups. The State Government of Karnataka, as part of its AVGC 2.0 Policy, has set up a state-of-the-art 30,000 Sq ft CoE at Whitefield, Bengaluru. Their Centre of Excellence provides facilities for start ups and entrepreneurs and film makers in some of the latest technology in this field. All of these has been made possible with the strong support of the Government.

THE IMAGE City at Hyderabad supported by Telangana Government has been a successful example of the State’s Government initiatives to support the Start-ups and entrepreneur in this AVGC sector.

As a Part of National Centre of Excellence for AVGC, 5 Regional Centers of excellence is also

CREATIVE HUBS OF INDIA

being proposed to be set up in different parts of the Country in collaboration with respective State Governments.

How is India promoting co-production, and what are the future plans in this regard?

India has been actively fostering Bilateral AudioVisual Coproduction Agreements (AVCAs) with various countries to promote collaboration and growth in the film industry. Currently, India has AVCAs with 16 countries with Australia, being the most recent ones to have signed andnow Ministry aims to expand this number.

Out of the G20 countries, India has AVCAs with 10 nations, such as Australia, Brazil, Canada, China, France, Germany, Italy, Republic of Korea, Russia, and the United Kingdom. Additionally, India has agreements with other countries that form part of the European Union, namely Spain, Portugal, and Poland. India is also actively negotiating AVCAs with others, namely Argentina, Mexico, South Africa, and Turkey and more. These efforts aim to considerably expand the number of countries with which Indian filmmakers and professionals can collaborate.

Co-production agreements have led to the creation of remarkable cinema. An example is the Indo-French treaty co-production “Lunchbox,” which achieved both box office success and critical acclaim in the past decade. Over the years, India has granted official coproduction status to 14 films, and the goal is to increase this number and encourage more films to be co-produced. It is notable that out of the 14 projects granted coproduction status three productions namely Mia and Me (IndiaGermany) Schirkoa (India-France) and Noah’s Ark (India-Brazil) are animation films.

THE TASK FORCE ON AVGC HAS PUT IN PLACE A DETAILED STRUCTURE ON HOW TO INTRODUCE AVGC AND MAKE IT PART OF THE NEW EDUCATION POLICY

These agreements also provide a platform for cultural exchange and help in strengthening bilateral relations between nations.

By signing co-production agreements, India aims to tap into the global market, enhance the quality of its films, and create opportunities for its filmmakers to reach international audiences. Furthermore, co-production agreements enable Indian filmmakers to explore diverse themes, settings, and stories, thereby broadening the creative horizons of the industry. Through collaborations with international partners, Indian filmmakers can learn from different filmmaking techniques, styles, and experiences, enriching their own artistic repertoire.

How does the Government plan to address the challenges of manpower and infrastructure in the Industry?

The Government is committed to working alongside the industry to establish more institutes and bring more human resources on board. The Government intends to explore ways to introduce AVGC in school curricula to expose students to this exciting sector at an early age. Attempts have already been made in this regards and today Central Board of School Education has introduced curriculum from class 6 to 8 on AR-XR. The Task force on AVGC has put in place a detailed structure on how to introduce AVGC and make it part of the New Education Policy.

As mentioned earlier the National Centre for Excellence in Mumbai will roll out several programs that includes training of the trainers’ program amongst others which will exponentially enhance the skilled man power for this sector.

A UGC-recognized curriculum for Undergraduate and Postgraduate degrees will be established with a dedicated component of practical skills that will be imparted through a mix of in-house training by faculty as well as mentorship by industry recognized mentors.

The NCOE will provide policy advisory services, industry consulting services in terms of setting up of management clinics for National and international partnerships, curriculum design for institutes, training of experts and in the long term, will serve as an employment exchange for the industry as well as for individuals seeking career opportunities in AVGC-XR sector.

The Government also intends to undertake mapping and upgradation of existing curriculum of educational institutions (Short- & Long-term trainings or courses) as per NSQF guidelines to meet industry and international standards. For the same purpose, uniformity in course content and delivery will also be looked into as part of the standardization process.

To address the gaps in infrastructure, the Govt. will take adequate steps to encourage companies offering AVGC technology products, including software, to move from a traditional license and maintenance model to a subscription-based model. This will lead to expensive software not becoming a financial barrier to adoption of new AVGC-XR technology. Feasibility to set up AVGC-XR and design specific R&D labs in various Institutes of Eminence like IITs, NITs, IISc, in the country, will be evaluated.

What initiatives are being taken to preserve and restore India’s film heritage?

The National Film Heritage Mission (NFHM) was launched by the Ministry of Information and Broadcasting in 2016, to undertake preservation, digitization and restoration of India’s cinematic heritage in a Mission Mode. As part of NFHM, 3 major projects are ongoing at NFDC: Digitization of Films, Preventive Conservation of Film Reels and Restoration of Films, that are of immense significance and have never been attempted on this scale globally. The project aims to digitize and restore more than five thousand feature films and short films, with a significant portion already completed. Storage vaults of global standards meeting the requisite spatial, storage and climatic requirements are also being constructed to accommodate films and filmic material across variety of mediums. These new storage vaults will be fully functional by the end of this year.

Ministry is contemplating on launching a program through which film enthusiasts and citizens can fund the digitization and restoration of their favourite films. The National Film Development Corporation of India (NFDC) will play a crucial role in financing projects and providing support to young filmmakers who lack access to funds. The Government also intends to establish NFDC’s own OTT (over-thetop) platform or tie up with already existing OTT players in the market to showcase to the world these restored/ digitized films.

How does the Government plan to address film piracy?

The Government is in the process of revamping the Cinematograph Act in order to combat the menace of film piracy in a comprehensive manner. Stricter punishments have been proposed to empower the Government to effectively address the issue of unauthorized recording and exhibition of films as well as illegal distribution of pirated films over the internet. The Government aims to introduce the revised act in the Monsoon Session of Parliament and hopes for its quick passage to strengthen their resolve to tackle film piracy and strengthen the IP regime.

AVGC THOUGHT LEADER

Pioneering the Transformation of AVGC in India

Through his unwavering commitment and strategic initiatives, industry veteran and AVGC Taskforce member Ashish SK has bridged the gap between academia and industry, standardized AVGC curricula, and identified and nurtured talent. His visionary leadership has not only propelled the growth of the AVGC sector but has also positioned India as a global hub for AVGC production and innovation. He is chairman of FICCI AVGC XR Forum

In the early 2000s, Ashish SK, a visionary entrepreneur, recognized the immense potential of the Animation, Visual Effects, Gaming, and Comics (AVGC) sector in India. He coined the term AVGC in 2000, paving the way for the formation of the FICCI AVGC Forum in the same year. With a clear vision to establish AVGC as a distinct sector and create independent policies and institutions to support its growth, Ashish and FICCI embarked on a journey that would shape the AVGC landscape in India.

Understanding the need for a comprehensive structure like the Indian Institutes of Technology (IITs) and Indian Institutes of Management (IIMs), Ashish advocated for the establishment of a National Centre of Excellence (NCOE) for AVGC in 2005. This would provide a strong foundation for AVGC as a sunrise sector and nurture talent through formal education and specialized labs for Extended Reality (XR) and gaming. Ashish’s contributions extended beyond policy formulation.

Ashish S K , Chairman, FICCI AVGC-XR FORUM & Founder Punnaryug Artvision Pvt Ltd.

ASHISH SK COINED THE TERM AVGC IN 2000, PAVING THE WAY FOR THE FORMATION OF THE FICCI AVGC FORUM IN THE SAME YEAR. WITH A CLEAR VISION TO ESTABLISH AVGC AS A DISTINCT SECTOR AND CREATE INDEPENDENT POLICIES AND INSTITUTIONS TO SUPPORT ITS GROWTH, ASHISH AND FICCI EMBARKED ON A JOURNEY THAT WOULD SHAPE THE AVGC LANDSCAPE IN INDIA.

He has worked extensively with more than 200 universities to develop curricula for AVGC programs, ranging from grades 6 to 12 and undergraduate to master’s levels. By fostering partnerships between academia and the industry, Ashish ensured that the talent pool in India received formal education to pursue careers in the creative, techno-creative, and design fields. One of the significant initiatives spearheaded by FICCI was the creation of the Media and Entertainment Skills Council (MESC) in 2012. This proactive step aimed to provide equal opportunities for building careers in creative

and techno-creative sectors, aligning with the objectives of the National Education Policy (NEP) 2020. Ashish’s involvement in formulating the NEP and advocating for the inclusion of AVGC as an integral part of the curriculum showcased his commitment to bridging the gap between industry requirements and academic offerings. To identify and nurture talent at a young age, MESC under leadership of Ashish introduced the MECATT aptitude test, which has become a benchmark for creative arts careers in India. Additionally, a junior version of MECATT was developed for students in grades 4 and 5, enabling them to pursue creative arts careers from the 6th grade onwards. These initiatives aimed to lay a solid foundation for the country’s future workforce and build a robust ecosystem encompassing the required skills for the AVGC industry. Ashish’s dedication to the grassroots level development of the AVGC sector in each state led to the formulation of exclusive AVGC policies in collaboration with state governments. By nurturing studios and educational institutions and facilitating the implementation of these policies, Ashish ensured that the AVGC ecosystem thrived across different regions of the country. States like Maharashtra, Goa, Karnataka, Telangana, Andhra Pradesh, and West Bengal have witnessed significant success in implementing AVGC policies, while other states are in the process of launching their versions. The efforts of Ashish with Industry leaders culminated in the formation of the AVGC Taskforce, led by Apurva Chandra. This taskforce engaged in a nine-month-long consultation process, involving stakeholders from various sub-groups focused on animation VFX XR policy, education, skilling, and gaming.

The recommendations and sample state policies generated by the taskforce are now awaiting implementation, promising to lay a solid foundation for the future of AVGC and XR in India.

Looking ahead, the FICCI AVGC Forum report projects a twenty-fold growth in the AVGC workforce and a six-fold increase in India’s market share in the global AVGC industry over the next few years. In an exclusive interview with Ashish, the visionary entrepreneur and pioneer of the AVGC sector in India, we gained deeper insights into his journey and the transformative role played by FICCI in shaping the AVGC landscape. Here are some highlights from the interview: When asked about his motivation behind establishing the FICCI AVGC Forum, Ashish emphasized his belief in the untapped potential of the AVGC sector in India. He recognized the need for a dedicated platform that would bring together industry stakeholders, policymakers, and educational institutions to drive its growth. Ashish said, “I wanted to create a community that fosters collaboration, encourages innovation, and paves the way for the development of AVGC as a distinct sector.” Reflecting on his efforts to bridge the gap between academia and industry, Ashish highlighted the significance of developing standardized curricula for AVGC programs. He stated, “It was crucial to ensure that students received quality education aligned with industry requirements. By partnering with universities and designing curricula that covered various aspects of AVGC, we aimed to provide a strong foundation for aspiring professionals.”

Ashish also spoke about the importance of recognizing talent at an early age and nurturing it to fulfill its potential. He discussed the MECATT aptitude test and its role in identifying creative talent in students. Ashish said, “We wanted to create a platform that not only identified talent but also provided guidance and opportunities for young minds to pursue creative arts careers. MECATT became a benchmark for assessing aptitude and passion for the AVGC field.”

When asked about the challenges faced during

the formulation of AVGC policies at the state level, Ashish acknowledged the need for extensive collaboration between industry stakeholders and governments. He shared, “Each state had its unique requirements and potential. We worked closely with state governments, studios, and educational institutions to understand their specific needs and formulate policies that would encourage the growth of the AVGC sector within their respective regions.” Looking ahead, Ashish expressed his optimism about the future of AVGC in India. He emphasized the need for continued collaboration, investment in infrastructure, and nurturing of talent. Ashish stated, “India has the potential to become a global hub for AVGC. With the right policies, infrastructure, and a talented workforce, we can create world-class content and establish India as a leader in the global AVGC industry.”

In conclusion, Ashish’s visionary leadership and proactive initiatives have played a pivotal role in shaping the AVGC sector in India. Through policy advocacy, talent development, and collaboration between industry and academia, it has paved the way for the growth and transformation of the AVGC landscape. With their efforts and the promising recommendations of the AVGC Taskforce, the future of AVGC in India appears bright, poised for exponential growth, and global recognition.

ASHISH’S VISIONARY LEADERSHIP AND PROACTIVE INITIATIVES HAVE PLAYED A PIVOTAL ROLE IN SHAPING THE AVGC SECTOR IN INDIA. THROUGH POLICY ADVOCACY, TALENT DEVELOPMENT, AND COLLABORATION BETWEEN INDUSTRY AND ACADEMIA, IT HAS PAVED THE WAY FOR THE GROWTH AND TRANSFORMATION OF THE AVGC LANDSCAPE.

POWERING INDIAN DIGITAL ENGINE ROOM

ANNECY CHARTS NEW GROWTH PATH FOR INDIA

Biren Ghose, the Country Head of Technicolor India and Vice Chairman of CII National Committee on Media & Entertainment, has been a significant figure in the transformation of India’s digital creative industries for over two decades. With his extensive experience and remarkable professional journey, Biren Ghose offers valuable insights into the vision and potential of India’s Animation, VFX, and Gaming (AVGC) sectors. An AVGC Taskforce member, here are Biren Ghose’s insights on growth path for India’s Animation and VFX verticals.

Can you explain the significance of Annecy for India and how it can benefit the country?

In India, if I were to express my views, I would say the following about Annecy. Firstly, I firmly believe in the need to develop a vibrant culture of short films, and Annecy has exemplified this brilliantly. What truly captivates me about Annecy is its incorporation of short filmmakers into the competition. These filmmakers are bold, pushing boundaries, and constantly experimenting with new technologies.

Their innovations often pave the way for breakthroughs in larger film productions, where risks may not be as readily taken. Therefore, the role of short films cannot be underestimated in shaping the industry’s creative landscape.

Furthermore, Annecy serves as a dynamic meeting place for professionals in the AVGC sector, facilitating invaluable networking opportunities. It has evolved into a global hub where talent from countries like France is acknowledged and celebrated on a worldwide scale.

Biren Ghose , the Country Head of Technicolor India and Vice Chairman of CII National Committee on Media & Entertainment

ANNECY SERVES

AS A DYNAMIC MEETING PLACE FOR PROFESSIONALS IN THE AVGC SECTOR, FACILITATING INVALUABLE NETWORKING OPPORTUNITIES. IT HAS EVOLVED INTO A GLOBAL HUB WHERE TALENT FROM COUNTRIES LIKE FRANCE IS ACKNOWLEDGED AND CELEBRATED ON A WORLDWIDE SCALE

for the World” strategy, holds significant importance. This powerful tagline will be utilized throughout the year to underscore India’s potential as a thriving hub for innovation and production. From this standpoint, several crucial points come to the forefront.

First and foremost, the government’s focus on highlighting India’s creative economy reflects its unwavering commitment to nurturing and promoting the country’s abundant talent and expertise across diverse creative fields. This encompasses industries ranging from design, arts, entertainment, media, to technology.

India’s rapid rise to eminence as the “digital engine room” for the world, when it comes to production of movies, episodic and short film content. That’s the emerging India edge. It is with this growing confidence and pride that we are positioning India as the “wind in the sails’ of content creators through technology enablement. As technology has democratized consumption so also has it helped to consolidate production.

Inspired by Annecy’s success, I am a staunch advocate for establishing a similar event in India, creating a platform that showcases our immense talent and potential to the world. Alongside this event, I envision organizing a summit akin to the CII Summit FX, functioning as a major marketplace where industry professionals can connect, collaborate, and forge formal partnerships. The potential for such partnerships is evident as Annecy is already seeking collaboration with AniMela in Mumbai, further cementing the importance of international cooperation.

To enhance the progression and recognition of Indian talent, it would be immensely beneficial for the winners of the initial competition in India to gain automatic entry into the Annecy competition. This seamless progression would provide our filmmakers with an international stage to showcase their work, garner exposure, and propel their careers. Such integration with Annecy’s esteemed competition would undoubtedly fuel the growth and reputation of the Indian AVGC industry.

Can you elaborate on how the government’s agenda of showcasing India’s creative economy to the world aligns with the overall strategy of “Create in India, Make for the World”?

Absolutely. The government’s agenda to showcase India’s creative economy to the world, as part of the “Create in India, Make

Secondly, by spotlighting India’s creative economy, the government aims to attract global attention and investment. By positioning India as an enticing destination for creative and innovative industries, it becomes highly appealing to multinational companies and investors seeking to leverage the country’s rich pool of talent and abundant resources.

Moreover, the government’s emphasis on the creative economy aligns seamlessly with the broader objective of the “Create in India, Make for the World” strategy. This overarching strategy aims to stimulate domestic production and manufacturing, while concurrently ensuring that the products and services originating from India meet and surpass global standards. By fostering the growth of the creative economy, the government is cultivating an environment conducive to the flourishing of ideas and the development of innovative products, catering to both domestic and international markets.

The AVGC sector is seen as a vehicle to make India a global content leader. What are your thoughts on this?

The AVGC sector in India possesses the remarkable potential to propel the nation into a position of global content leadership. Looking back two decades ago, animation and VFX were nascent industries, contributing to less than 1% of the overall revenues. However, today, we witness a remarkable transformation. These sectors have undergone substantial growth, showcasing higher revenue generation, improved profit outcomes, and faster growth rates when compared to the traditional film sector. In fact, the AVGC segment has outgrown the film industry in recent years, signifying a pivotal shift that sets the stage for India to emerge

as a true global powerhouse in content creation. This ascent not only marks the sector’s extraordinary development but also heralds a new era of opportunities for Indian talent to showcase their creative prowess and captivate audiences on a global scale. With the right support, investment, and strategic nurturing, the AVGC sector can undoubtedly drive India’s rise as a trailblazing leader in content creation, leaving an indelible impact on the world stage.

How can we leverage curiosity and capitalize on it to further enhance the AVGC sector?

Curiosity plays a crucial role in storytelling and media engagement. Consumers, like children, are always seeking something new and exciting. As storytellers, it is our responsibility to comprehend this innate desire for novelty and create content that truly mesmerizes and captivates their attention. By effectively addressing and embracing curiosity in our AVGC strategies, we have the power to propel the industry to unprecedented heights. This unwavering thirst for new experiences and excitement can be harnessed as a catalyst to fuel the growth and expansion of the AVGC sector. By consistently pushing the boundaries of imagination, incorporating innovative technologies, and crafting narratives that ignite curiosity, we can forge deep connections with our audience and create unforgettable experiences that transcend the boundaries of traditional storytelling.

At Technicolor Creative Studios, that is exactly what we do. We take the curiosity of consumers and channel it into our creative endeavours. Through cutting-edge

BY CONSISTENTLY PUSHING THE BOUNDARIES OF IMAGINATION, INCORPORATING INNOVATIVE TECHNOLOGIES, AND CRAFTING NARRATIVES THAT IGNITE CURIOSITY, WE CAN FORGE DEEP CONNECTIONS WITH OUR AUDIENCE AND CREATE UNFORGETTABLE EXPERIENCES THAT TRANSCEND THE BOUNDARIES OF TRADITIONAL STORYTELLING

technologies, expertise in storytelling, and a culture of innovation, we have delivered content one after another that not only meets but exceeds the expectations of our audience, such as Paramount Pictures’ Top Gun: Maverick, Guillermo del Toro’s Pinocchio, Walt Disney’s The Jungle Book and Lion King, Warner Bros. Pictures’ Elvis, HBO’s House of the Dragon, and many more.

What are the key factors that have contributed to the success of the AVGC sector in India?

The success of the AVGC sector in India can be attributed to various factors, each contributing to its rapid growth

and recognition on the global stage. One of the key factors is the abundance of talent in the country. India has a rich pool of creative individuals who possess a deep understanding of storytelling, visual aesthetics, and technical skills. The development of creative visualization and specialized craft disciplines has further nurtured this talent, allowing them to create high-quality and visually stunning content that rivals international standards.

In addition to talent, technology has played a pivotal role in propelling the AVGC sector forward. India’s advancements in technology have not only facilitated the creation of visually captivating content but have also provided a platform for innovation and experimentation. Creativity and storytelling are the lifeblood of the AVGC industry. India’s rich cultural heritage, diverse narratives, and deeprooted storytelling traditions have provided a unique foundation for creating compelling and immersive content. The fusion of traditional storytelling techniques with modern visual effects and animation has given rise to a distinct and globally recognized style.

Moreover, innovation has been a driving force behind the growth of the AVGC sector in India. Companies like

INDIA’S RICH CULTURAL HERITAGE, DIVERSE NARRATIVES, AND DEEP ROOTED STORYTELLING TRADITIONS HAVE PROVIDED A UNIQUE FOUNDATION FOR CREATING COMPELLING AND IMMERSIVE CONTENT. THE FUSION OF TRADITIONAL STORYTELLING TECHNIQUES WITH MODERN VISUAL EFFECTS AND ANIMATION HAS GIVEN RISE TO A DISTINCT AND GLOBALLY RECOGNIZED STYLE

Technicolor have played a significant role in showcasing India’s potential as a global content creation hub. We have as a company started at a mere 500 artists in India have now moved to 7000 creative technicians, artists, creative producers, animators, VFX and CG artists, to create a cohesive ecosystem that fuels out one amazing project after another. Take the Oscar winning Guillermo del Toro’s Pinocchio or the BAFTA Television Craft Awards for HBO’s House of the Dragon both had a large number of Indian talent and force creating magic for the big screen. It isn’t true that we are merely manpower. That is a myth surrounding the Indian AVGC sector.

How can we dispel the myths surrounding the Indian AVGC sector?

There are several myths that need to be debunked about the Indian AVGC sector. Firstly, it is not merely a manpower industry but rather about talent and the development of creative visualization. It encompasses various specialized lines of craft, such as modelling, texturing, rigging, animation, lighting, and compositing, which serve as the foundation for design and content creation across industries.

Secondly, the notion that the AVGC sector is only a back-end service provider is outdated. India is producing high-endto-end world-class computer graphics, delivering projects globally. The sector’s capabilities need to be harnessed through a proposed AVGC mission that reimagines how India can undertake ambitious projects and elevate its global standing.

Lastly, it is a misconception that the AVGC sector lacks the ability to design and deliver world-class content. The challenge lies in monetizing what is produced by establishing global-scale distribution networks. Collaboration between the government and the industry is essential to create incubation centers that foster innovation, develop new technologies, and provide resources to Indian talent, reducing dependence on expensive international resources.

How can we overcome the challenges of distribution and monetization in the AVGC sector?

While we have the ability to design and deliver world-class content, distribution and monetization remain key challenges. We need to create incubation centers

and foster innovation to develop new production methodologies and tools. These platforms will foster collaboration, research, and the development of new production methodologies and tools, driving industry growth and enhancing distribution and monetization capabilities.

In addition, leveraging India’s rich cultural assets, such as food, fashion, spirituality, and technology, can be a game-changer for monetizing Indian AVGC content globally and locally. Tapping into these cultural elements allows content creators to produce resonant and immersive experiences that captivate global audiences.

Effective monetization requires collaboration between various key stakeholders. Establishing a collaborative network between governments, Industry, International contingencies and global festivals like Annecy can create opportunities and platforms for showcasing and distributing Indian AVGC content worldwide.

How can technology and innovation further propel the AVGC sector?

Technology and innovation play a pivotal role in the AVGC sector’s growth. India has already demonstrated its capabilities in creative technology production, such as virtual production in VFX. The advancement of new technologies like AI and virtual reality presents opportunities to create groundbreaking content for both India and the global audience. Embracing these emerging fields and fostering crossindustry collaborations will unleash the full potential of the AVGC industry and open up new avenues for immersive experiences.

How has cloud computing and new tools and technologies facilitated the ability of medium and small-scale industries to achieve global delivery?

The point is that the medium and smallscale industries today are able to create global delivery, thanks to cloud computing and the new tools and technologies that are emerging. The fourth point pertains to the startup ecosystem, particularly in areas like this, where we are witnessing both multinationals finding it ideal to operate in India, and venture capital flowing into this field to alleviate the struggles and constraints faced by entrepreneurs. Furthermore, the hybrid way of working enables people to tap into India’s vast

geography. Additionally, the industry has come together, signifying its maturation as various industries, government, and academia collaborate for policy formulation and other initiatives. There is a united front on this matter. It is also important to acknowledge that while there is a growing emphasis on IP development and local content, the international services business remains the primary engine for talent development, accounting for 70 to 75% of the revenues. These revenues contribute to funding technology, infrastructure, talent development, and other aspects.

What does the future hold for the AVGC industry in India?

The future of the AVGC industry in India is brimming with possibilities. Creative entrepreneurs will have access to more resources and support to bring their visions to life. Cross-industry collaborations, such as merging healthcare and entertainment to provide immersive experiences for patients, hold great potential. As leaders in the AVGC sector, it is our responsibility to embrace innovation and collaboration, leverage new technologies, and seize the opportunities that lie ahead to position India as a global content leader.

IT IS ALSO IMPORTANT TO ACKNOWLEDGE THAT WHILE THERE IS A GROWING EMPHASIS ON IP DEVELOPMENT AND LOCAL CONTENT, THE INTERNATIONAL SERVICES BUSINESS REMAINS THE PRIMARY ENGINE FOR TALENT DEVELOPMENT, ACCOUNTING FOR 70 TO 75% OF THE REVENUES

SCALING CREATE IN INDIA FOR THE WORLD

Deepa & Anoop, along with Mighty Little Bheem, both being Netflix Originals, will inspire other global OTT players and broadcasters to seek out more shows created by Indian creators says veteran industry leader and AVGC Taskforce member Munjal Shroff, Director & COO of Graphiti

How can we scale the “Create in India for the World” concept?

I believe that the Indian Animation Industry should capitalize on the success of shows like Deepa&Anoop, which have been created by Indian creators. I am pleased to share that our show, Deepa&Anoop, a Netflix Original produced by Mattel, was launched in 27

international languages. Right from the beginning, when my co-creator Lisa Goldman and I developed the show, we had a clear focus on the global audience. Winning four awards at the Kidscreen Awards, including Best New Show, Best Inclusivity, Best Music, and Best Voice Talent, is a testament to the show’s global success. We are grateful to Netflix and Mattel for supporting our show and providing us with complete creative freedom to create something as unique and wonderful as Deepa

and Anoop. Deepa&Anoop, along with Mighty Little Bheem, both being Netflix Originals, will inspire other global OTT players and broadcasters to seek out more shows created by Indian creators. The success of these shows will undoubtedly encourage Indian studios and creators to unleash their creative potential and dream big. This positive ripple effect will impact the entire Indian Animation Industry.

Can you talk about the mini-series Krish, Trish, and Baltiboy - Bharat Hain Hum (We are India) collaboration with the Ministry of Information & Broadcasting?

We are thrilled about our new series, Krish, Trish, and Baltiboy - Bharat Hain Hum (KTB - We are India). It is a 52 x 11-minute series co-produced by by Central Bureau of Communication, Ministry of Information and Broadcasting and Graphiti Studios. This fantastic show highlights amazing stories from the Indian Freedom Struggle, featuring unsung heroes from the period of

1550 to 1947. We are proud of this project and immensely grateful for the Ministry’s support. It is a unique initiative where the Ministry partners with an independent studio to explore the production of wholesome kids’ content. The objective is to generate good revenues and reach a wider audience. If the show succeeds in achieving both these parameters, we can expect more similar projects in the future. This responsibility weighs heavily on our shoulders, and we are fully dedicated to this project. I am delighted to share that the production is progressing smoothly, and the completed episodes look very promising. We plan to launch the show in the coming months.

What are the next steps following the new AVGC Policy initiatives?

The National AVGC Task Force has submitted the draft policy, which will soon be approved by the government. The crucial next phase is the implementation of the policy. We need to focus on actionable items, primarily in the areas of skilling and production incentives. For skilling, we plan to establish the National Centre of Excellence (NCOE) in Mumbai, followed by similar centers in other cities. Additionally, we aim to upskill the existing workforce. Our vision is to expand the AVGC talent pool from the current 200,000 to 2 million over the next 8-10 years. The NCOE and the Media and Entertainment Skill Council (MESC) will play a vital role in achieving this goal. MESC has been closely collaborating

Munjal Shroff , Director & COO, Graphiti Studio, Co-Chair, FICCI – Animation, VFX, Gaming and Comics (AVGC) Forum

Deepa & Anoop

Deepa & Anoop

THE NATIONAL AVGC POLICY HAS BEEN DESIGNED TO UPLIFT THE ENTIRE SECTOR. THERE IS A STRONG EMPHASIS ON SIGNIFICANTLY EXPANDING OUR TALENT POOL, AIMING TO GROW IT FROM 200,000 TO 2 MILLION WITHIN THE NEXT 8 TO 10 YEARS, REPRESENTING A REMARKABLE 10X GROWTH

with training and educational institutions in the ecosystem to define National Occupation Standards (NOS) and develop curriculum and skilling pathways through Qualifying Packs (QPs). Regarding production incentives, we need to establish mechanisms to facilitate the disbursement of coproduction funds, as announced in the National AVGC Policy. Additionally, we will sign newer co-production treaties with countries where we currently do not have such agreements. We may also need to revisit some of the existing treaties to cover TV series and web series productions.

Can you discuss the potential of Indian talent and creative minds for the future?

Indian talent and creative minds have an incredibly promising future ahead. The National AVGC policy has been designed to uplift the entire sector. There is a strong emphasis on significantly expanding our talent pool, aiming to grow it from 200,000 to 2 million within the next 8 to 10 years, representing a remarkable 10x growth. Additionally, there is a strong focus on up-skilling the existing talent pool. Across various verticals of Animation, gaming, and VFX, Indian studios are actively involved in top global projects. These include world-class animation shows like Troll Hunters and Deepa and Anoop for

Netflix, games like Elder Scrolls, and VFX for Hollywood blockbusters such as Avengers Endgame and Avatar. International studios have recognized India’s exceptional talent pool, which is rapidly ascending the value chain.

What are your thoughts on expanding our global footprint and creating coproduction opportunities

through new incentives?

India has signed over 16 co-production treaties; however, there have been limited projects that have taken advantage of these agreements. Despite having great talent available at competitive rates, one crucial factor missing from our co-production arsenal was funding. The Ministry has realized this and has worked diligently to address the issue. We now have funds allocated for co-production, as part of the new National AVGC Policy. This means that international studios can engage in coproductions with Indian studios, and these Indian studios can access the designated co-production funds. In the upcoming year, we anticipate witnessing a significant increase in Indian studios actively participating in international coproductions across top TV shows, web series, and movies.

UNLOCKING INDIA’S GLOBAL CREATIVE POTENTIAL

India’s National Animation

VFX Gaming & Comics (AVGC) policy is set to revolutionize the country’s presence in the global content industry. With a focus on high-quality education in creative arts and sciences, this policy aims to unleash a new wave of well-trained AVGC professionals who will create captivating content rooted in India’s cultural heritage. By

Chaitanya Chinchlikar, Chief Technology Officer, Whistling Woods International

India is a unique country with approximately 18% of the world’s population, is the world’s largest freeaccess internet consuming country with one of the lowest data ratesand is the world’s largest free-access content and entertainment market. It is a country poised for a content explosion on the global stage, prepared to make the transition from ‘arriving’ to ‘arrived.’

You can cross a chasm only with one big jump, not two short ones. And what that big jump requires is a springboard. That springboard is the National Animation VFX Gaming & Comics (AVGC) Policy.

Historically, while accounting for more than 4% of the global economy, India has held barely 1% of the global Media & Entertainment market. Furthermore, despite having a 110-year-old film industry, an 50-year+ television industry, and a 25-year+ animation industry, India is not a global force in these sectors, nor is it a force in education in these fields. As the country makes its way onto the global stage, this paradox is beginning to unwind. And India is taking its rightful place at the global table. The fact that India is today the VX factory of the world is just the beginning. And initiatives like the proposed National AVGC Policy will both accelerate and spearhead this emergence.

Education is at the heart of any industry. There can’t be two ways to look at it. No industry can be meaningfully built with only borrowed or imported talent. It is not only monetarily unwise, but they will be unable to relay ‘your’ story to the rest of the world. Those can only be told by your own people, who are not only caretakers and repositories of a civilisation’s stories, but are also well trained and educated to tell them in a meaningfully engaging and amusing manner, through a medium that the rest of the world would appreciate.

This AVGC Policy aims to accomplish just that. It will provide the environment and mechanisms to support high-quality education in the creative arts and sciences, leading to engaging content that will catapult brand India onto the global content stage.

It begins with K-12 education and, more especially, making storytelling, narrative arts, creative arts, communication arts, design, and performing arts, a vital and intrinsic element of school learning for all Indians.This will complement the stories and narratives they hear at home and from their elders, and content that they watch online, while inculcating in the student a foundational understanding of creativity thereby keeping the natural creative spark in each student burning bright. This will also enable them to study subjects which will help them to gauge their aptitude for, and map out, career pathways in M&E, so that they can take an informed decision on opting for specific education at the Higher Education level.

INDIA IS TAKING ITS RIGHTFUL PLACE AT THE GLOBAL TABLE. THE FACT THAT INDIA IS TODAY THE VX FACTORY OF THE WORLD IS JUST THE BEGINNING. AND INITIATIVES LIKE THE PROPOSED NATIONAL AVGC POLICY WILL BOTH ACCELERATE AND SPEARHEAD THIS EMERGENCE

Chaitanya Chinchlikar , Vice President & Business Head Chief Technology Officer & Head of Emerging Media Whistling Woods International

Whistling Wood International Campus, Mumbai

After making an informed and conscious decision to pursue a career in the Media & Entertainment industry in general, and the AVGC industry in particular, students can then pursue well-rounded graduate & postgraduate AVGC education in institutions across India via a curriculum & teaching methodology that maintains high quality standards & learning outcomes, delivered by faculty who are both adept in subject matter expertise as well as teaching of the same.

While doing this, this education policy will ensure that India’s rich cultural narrative traditions which have developed over several millennia like the Natyashastra and the Rasa Theory, are taught to students. It will also take into account that India has several pockets of highly qualified traditional / folk art forms, and a robust exposure to these is critical for a well-rounded holistic learning. Both these will enable the content that these students create to have a unique Indian-ness to it.

Further, too often, one-dimensional creative industries get swept up in the creativity without focusing on the commercial aspects. A study of how the business of this industry should be done to ensure maximum efficiency of monetisation, is a must for any student.

All these elements coming together, supported by well-structured and clearly laid out state-supported funding at an adequate level, to ensure continuous creation of the ‘next’ generation of audio-visual storytellers and experience-builders in Animation, VFX, Gaming and Comics.

So what does this mean for the rest of the world.

India is not just willing, but ready and able for a much more meaningful collaboration with the rest of the world.

• The next few years will see a massive expansion of well trained well educated AVGC professionals enter the Indian market. This is a good time for global production houses and studios to break ground in setting up their India operations.

• 5 years from now, the annual content emerging from India will grow significantly BOTH in quality and quantity. Global distribution pipelines with have a surfeit of content emerging from India

• Global universities engaged in Research & Development work in AVGC and related emerging technologies like XR and other immersive workflows, will start to see strong potential partners emerge in Indian HEIs (Higher Education Institutions) to collaborate with for such R&D projects.

• These are just some of the likelihoods of the near future. Over the next decade, India, through this AVGC policy and its implementation will surge forth to compete at the global stage in the Animation, VFX, Gaming, Comics and Extended Reality industries.

Hope the world is ready for us !

THE NEXT FEW YEARS WILL SEE A MASSIVE EXPANSION OF WELL TRAINED WELL EDUCATED AVGC PROFESSIONALS ENTER THE INDIAN MARKET. THIS IS A GOOD TIME FOR GLOBAL PRODUCTION HOUSES AND STUDIOS TO BREAK GROUND IN SETTING UP THEIR INDIA OPERATIONS

Whistling Woods students at work

GREAT STORIES START HERE