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<ul><li>At a time when it is difficult to shoot outdoors, <keyword id="9635959" type="UNKNOWN" weightage="20" keywordseo="animation-professionals">animation professionals</keyword> have continued working from home to churn out the volumes. </li><li>As consumption steadily rises, the spotlight is on <keyword id="1089180" type="PERSON" weightage="20" keywordseo="Indian-animation">Indian animation</keyword> to cater to the increased demand for fresh, engaging content, writes <keyword id="3715456" type="PERSON" weightage="20" keywordseo="Anish-Mehta">Anish Mehta</keyword>, CEO <keyword id="3733286" type="PERSON" weightage="20" keywordseo="Cosmos-Maya">Cosmos-Maya</keyword>.</li></ul> Animation can explain whatever the mind of man can conceive – Walt Disney The unfortunate Covid crisis has greatly impacted the business landscape of the world. In the era of social distancing, production of live-action advertisements is a tough ask. Advertisers able to shoot can only do so in restricted environments. Production costs and turnaround times have increased at a time when new product launches are backed by limited client budgets. Crisis or no crisis, the show must go on. Unlike their counterparts in live action, animation professionals have continued working from home to churn out the volumes. As consumption steadily rises, the spotlight is on Indian animation to cater to the increased demand for fresh, engaging content. It has risen to the challenge, providing a much needed cheer to millions of households. Animation as an audiovisual media has tremendous reach today, and the current crisis is but a catalyst to the imminent paradigm shift to this creatively efficient medium. With animation, advertisers have the option to visually depict anything they want, any way they like, from the comfort and safety of their homes. The inclusivity of the medium in terms of storytelling allows it to consolidate all audiences. With animation, vivid, complex characters and layered stories can easily be created from scratch and showcased to a wide variety of people. Advertisers can also tie up with distributors to leverage the brand equities of existing animation IPs and characters. Animation as a medium is known to naturally invoke childhood nostalgia and pester power, both potent sellers. Brands have been employing animation for their ad campaigns for a while now since it can be used to depict their offerings in creative, yet precise ways. The fun aspect of animation can breathe life even into the ‘dry’ categories. Exactly 20 years ago, in a clutter busting move, O&amp;M used animated characters for the iconic, award winning Amaron Batteries campaign with the Hare and the Tortoise (Lasts Long Very Long). A brand new entrant in the market, Amaron immediately gained a 6% market share, and even today is a leader its space. Soon after came the vastly successful ‘Chintamani’ campaign by ICICI Prudential. Not only did the insurance company witness a brand recall of 92 percent, the character also became the brand’s mascot. The inclusivity of the medium is such that animated ads have the ability to transcend even global boundaries. <keyword id="1371678" type="COMPANY" weightage="20" keywordseo="Mondelez-International">Mondelez International</keyword> used this quality with its delightful Play With Oreo campaign, which saw the same animated ad being run in 40 languages the world over, including Hindi. A single 30-second ad reached more than 50% of the world’s population without burning a hole in the pocket. There are several options available to advertisers vis-à-vis animation types. The most commonly used are 2D animation, 3D animation, Motion Graphics and Stop Motion, with further sub-categorization. With advancements in technology, India today produces state of the art animation content. Most studios in the West continue to outsource their projects to India. Over the years, the production time has reduced significantly. Typically, a 30 second ad takes anywhere between 7-10 days to produce once the storyboard is finalized. The post production takes another 5-7 days. More the number of characters and more elaborate the frames of the ad, more will be the manpower and systems deployed for it. Higher budgets translate to higher quality. Here lies the opportunity to unlock a sustainable, long lasting partnership. The best business ideas are conceived in times of great adversity. Covid-19 may be here to stay, but the one fool proof solution going forward is adaptation. In an increasingly digitalizing world, brands and advertisers that adapt quickest to the changing landscape will be the ones who not only pull through, but also prosper.

Indian Animation – Advertising the future

Near the end of 2013, the animated movie <keyword id="6366669" type="ENTERTAINMENT" weightage="60" keywordseo="Mahabharat">Mahabharat</keyword> was released and was touted as “India’s most expensive multi-starrer <keyword id="21778" type="TECHNOLOGY" weightage="80" keywordseo="animation">animation</keyword> film.” The voice actors included the who’s who of contemporary Indian cinema. Amitabh Bachchan lent his voice to the iconic character of Bhishma; Ajay Devgan was Arjun; Sunny Deol was Bheem and Vidya Balan was Draupadi. None of the actors charged any fee and yet, the movie had a budget of Rs 50 crore. After the first week, it managed to earn just Rs 1.5 crore. 
 
Mahabharat was a phenomenal flop. 
 
But much of it had to do with the low quality animation that people ended up watching on-screen. And the studio blamed for such below-par work was a Juhu-based one called Pen India Pvt Ltd. Surely, there was nothing wrong with the story – Mahabharat is one of the most popular epics in the world. And the voice-acting was top-notch. So the only factors behind the debacle were the quality of animation and marketing. 
 
Outsourcing kills creativity Like many other industries, animation in India earns most of its revenues through outsourced projects from American and European studios. According to a secondary research presented in the <keyword id="6372077" type="CITY" weightage="40" keywordseo="Nasscom">NASSCOM</keyword> Industry Report, the money earned by Indian animation and VFX studios from global projects has steadily increased over the past decade. 
 
While that is good news from a business standpoint, the increasing number of outsourced projects also means that the animators are constantly working under strict deadlines and their project work is always under remote supervision which hardly leaves any room for creative decision-making. For the global studios, the Indian animation talent is akin to a sweatshop where the designs and plans are already in place and the workers are only expected to execute them. Such an environment not only tramples upon creativity but also leaves little time to pursue one’s creative aspirations. The few animators who choose not to work for those studios often find it difficult to earn a decent living. This is because the domestic market for animation is quite small. In 2009, domestic projects only accounted for 30% of the total revenues the industry earned. The rest came from outsourced animation, gaming and VFX work. 
 
Failure to woo the target audience 
As animated movies are relatively new in India, one of the biggest mistakes happened in figuring out the right content for a particular demographic. If you were to look at some of the animated films that came from India and achieved very little success, you might end up thinking – here’s a country where kids love Hindu mythology. 
 
It might seem odd now but that’s exactly what the producers had in mind when they released movies like Ramayan, Chhota Bheem, Ghatotkach, Krishna, etc. All of these feature stories from Hindu mythology and as India has the largest Hindu population, the producers just assumed that these stories would be popular. What a wrong assumption to make! What they don’t realise is that these stories are already known to Indian kids and they are not getting anything new or original out of these films. However, the Indian film industry is partly to blame for this – originality has never been its strong point. 
 Animation film-makers of India need to learn from studios like <keyword id="161299" type="COMPANY" weightage="40" keywordseo="Pixar">Pixar</keyword>, <keyword id="11201" type="CITY" weightage="40" keywordseo="Dreamworks">DreamWorks</keyword> and Disney who come up with highly original scripts such as <keyword id="241494" type="ENTERTAINMENT" weightage="40" keywordseo="Wall-E">WALL-E</keyword>, Kung-fu Panda, Madagascar, Toy Story, How to Train Your Dragon and more. On the other hand, the Indian audience must change their mindset and start enjoying good animated films. Discarding an animated movie as a ‘cartoon’ film is an indication that most Indian viewers still think that anything animated is meant ‘for the kids.’ If only our people grew up on Japanese Manga and Anime from a very early age… 
 
Training counts Animation can be taught while sketching is a talent that is honed over a longer period of time. So, the first thing wannabe animators need to know is that you need to love art, drawing and sketching. In India, people often choose animation as a career just because it is a booming sector. Five years ago, they might have chosen biotechnology or marine engineering for the same reason. But that’s not the way to go about choosing a career. There are a handful of really good schools in India for learning animation, illustration or design – such as the National Institute of Design (NID), Srishti School of Art and Design, <keyword id="2199190" type="UNKNOWN" weightage="40" keywordseo="J-J-Institute-of-Applied-Art">J.J. Institute of Applied Art</keyword>, etc. Aspirants should target these schools instead of opting for short-term certificate courses that promise placement. Some of the best Indian animators studied in these well-known institutions. For instance, Vaibhav Kumaresh, a student of NID, is one of the most coveted names in Indian animation. He is the one who created Channel V’s famous Sardar Simpoo Singh Sodhi and the Amaron Battery characters. Gitanjali Rao, an alumnus of J.J. Institute of Applied Art, won an award in <keyword id="6366702" type="CITY" weightage="40" keywordseo="Cannes">Cannes</keyword> in 2006 for her animated short, Printed Rainbow. 
 
The future of animation in India can go either way. If we can come up with a few studios which will devote resources and talent for consistently creating really good content and art, the production will be on par with the industry leaders. A good marketing team can then sell it to the world. But without such initiatives, animation in India may just end up being a prop for creating logos for production houses and meeting deadlines for other studios who will get all the credit for creativity.

Animation
In India In Dire Need Of Good Content And Marketing

<ul><li>In an interview with Business Insider India Cosmos Maya said it has five properties under production for China. </li><li>Their popular series <keyword id="2404631" type="PERSON" weightage="20" keywordseo="Motu-Patlu">Motu Patlu</keyword> is still a hit in India, Indonesia, Pakistan and China. It was also the fourth most search keyword on Google in 2018.</li><li> After Chotta Bheem went international, yet another popular Indian animation ‘Motu Patlu’ is heading for greener pastures. </li></ul>A large number of 90s and 2000s Indian kids were raised on Japanese cartoons. Now, the tables have turned and how. Looks like India is taking up the mantle of net exporter of animation properties. After Chotta Bheem went international, yet another popular Indian animation ‘Motu Patlu’ is heading for greener pastures. Cosmos Maya, the creators of Motu Patlu are now planning to capture a share of China’s $29 billion animation industry. “We have 4-5 new shows under production for China. I strongly believe that both India and China have similar culture, family values, and lifestyle,” said Suhas Kadav, Chief Creative Officer, Cosmos Maya to Business Insider India in an interview. The idea behind the shows is to weave in moral values into the cartoons. This might find takers in China as, like in India, families in both the countries want their children to watch shows under parental supervision. “Hence Chinese people have some inclination towards Indian content,” explains Suhas. As it's population grows, the Chinese entertainment industry<a href="https://blog.toonboom.com/china-animation-industry-asian-market-report"> too is expected to overtake the US as the world’s biggest box office in 2020.</a> China has over 800 million internet users, out of which 300 million users consume video actively on various platforms including iQiyim,Youku, and Tencent. China’s animation industry <a href="https://blog.toonboom.com/china-animation-industry-asian-market-report">is expected to swell to $54.3 billion by 2025,</a> according to The “Global and China Animation Industry Report. “Our series Baapu is an international boom and our youtube channel Wow Kidz has around 12 million subscribers,'' said Suhas Kadav. The Growth of Motu Patlu 
 
 
 
 <div type="image" title="54793878" msid="71888893" hostid="261" caption="&amp;lt;p&amp;gt;&amp;lt;sup&amp;gt;Suhas Kadav, Chief Creative Officer, Cosmos Maya created Motu Patlu in 2011. Source: Cosmos Maya&amp;lt;/sup&amp;gt;&amp;lt;/p&amp;gt;"></div>









 Motu Patlu is a classic Indian series on the same lines as Laurel and Hardy. Two best friends Motu and Patlu constantly run into trouble, and are subsequently chased by a police officer. The show reportedly garnered more than three million views on WowKidz, Cosmos Mayas’ and Youtube India in 2018. It also has a first mover advantage. “At the time we began our Motu Patlu series, there were hardly any animation studios making Indian content. The only Indian show I remember is Chota Bheem that marked its journey on television in 2008,” said Suhas, who created Motu Patlu in 2011. He further added, “Motu Patlu has been the top show for more than five years. The shows growth also led to the growth of Nickelodeon in India. When we partnered with Nickelodeon it ranked fifth but it became No. 1 cartoon channel soon after the launch of Motu Patlu.” Motu Patlu was also the fourth most searched show on Google in 2018, said China Internet Report 2019. Interestingly, the show is geo-blocked on Youtube. The report however does not reveal any details about the viewership of the show in the country. The show was also declared as the ninth most searched keyword in India and fourth most searched show in the world, in Google Trends 2018. Anish Mehta, CEO Cosmos Maya,<a href="https://www.thehindu.com/sci-tech/technology/how-does-cosmos-maya-work/article29181138.ece"> had earlier </a>told The Hindu that the show is their biggest property and they look forward to more viewership in 2019. Cosmos Maya is thinking of venturing into virtual reality soon. “The business for VR in India is being analysed and the current trends paint a good picture,” he said. In April 2018, Singapore-based equity investor Emerald Media bought a controlling stake in Cosmos Maya for an undisclosed amount. The studio took three new series outside of India to international marketplace. 
 <div type="Article" hostid="261" msid="70228055" title="Motu Patlu was the fourth most searched show on Google in 2018 in China." mstype="2" mssubtype="0"></div>

Motu Patlu's cartoon creators eye the big fat Chinese cartoon market with 5 new shows

<ul><li>The Punjab and Haryana High Court declared all animals, aquatic and avian creatures as ‘legal persons’.</li><li>The state governments of Punjab and Haryana are ensure that no individual is harnessing any animal to push vehicles in extreme high or low temperatures. </li><li>It also issued 29 mandatory directions to crackdown on cruel and brutal behaviour against animals.</li></ul>In a landmark ruling, the Punjab and Haryana High Court declared all animals, aquatic and avian creatures as ‘legal persons’. It means they will not enjoy all the duties and liabilities of a living person to the animals,<a href="https://www.tribuneindia.com/news/nation/animals-are-legal-persons-all-citizens-their-guardians-says-hc/781738.html"> according </a>to media reports. The bench headed by Justice Rajiv Sharma said, "All the animals have honour and dignity. Every species has an inherent right to live and is required to be protected by law. The rights and privacy of animals are to be respected and protected from unlawful attacks,” <a href="https://www.livelaw.in/top-stories/ph-hc-declares-entire-animal-kingdom-including-avian-and-aquatic-as-legal-entities-with-all-rights-and-duties-of-living-persons-read-judgment-145417">reported Live Law. </a> The court also highlighted the aspects of animal safety like controlling the amount of weight of vehicles drawn by animals, banning the use of sharp objects against them. They also gave the responsibility to all the citizens of Punjab and Haryana, to act as their ‘guardians’. Live and let live In a 104-page order, bench<a href="https://www.livelaw.in/top-stories/ph-hc-declares-entire-animal-kingdom-including-avian-and-aquatic-as-legal-entities-with-all-rights-and-duties-of-living-persons-read-judgment-145417"> said</a> “Live and let live” animals. It also issued 29 mandatory directions to crackdown on cruel and brutal behaviour against animals. The decision was given after it heard a case where 29 cows were packed and transported from Haryana to Uttar Pradesh in two trucks. As per the current order, the state governments of Punjab and Haryana are ensure that no individual is harnessing any animal to push vehicles in extreme high or low temperatures, exceeding 37 degree celsius during 11am and 4pm; and when the temperature below 5 degrees celsius in winter. Justice Rajiv Sharma, who was part of the bench in this ruling, had earlier passed a similar judgement in Uttarakhand last year. The bench also fixed the amount of load to be carried by animals. The use of animal drawing carts is also limited to nine hours a day in aggregate, not exceeding five hours without a break. The court has also banned the use of spike sticks, harness or yokes with spikes, knobs, projects and other sharp instruments to avoid the bruises, swelling, abrasions and severe pains. Similar fashion Last year in July, a bench of <keyword id="173384" type="ORGANIZATION" weightage="20" keywordseo="Uttarakhand-High-Court">Uttarakhand High Court</keyword> comprising Justice Rajiv Sharma passed a similar ruling that declared the entire animal kingdom as ‘legal persons’. In fact, Justice Rajiv Sharma and Justice Alok Singh also declared the river Ganga and Yamuna, along all their tributaries, streams, every natural water flowing with flow continuously or intermittently of these rivers, as legal entities. They were also given all corresponding rights, duties and liabilities of a living person.

Animals are now ‘legal persons’, an Indian court expects citizens to be their guardians

(Image Credit- worldatlas.com)<ul><li>The Indian government is reportedly considering a huge increase in penalties for animal abuse — but mainly as an inflation adjusting measure </li><li>From a paltry sum of ₹50, the fines are set to increase up to ₹6,000 </li><li>India’s current penalties are a legacy of the Prevention of Cruelty to Animals Act (PCA), 1960. </li></ul>It appears that after decades of <keyword id="4397" type="ORGANIZATION" weightage="20" keywordseo="animal-welfare">animal welfare</keyword> activism and recent directives from the Supreme Court, the Indian government is looking at revising its fines for <keyword id="6389744" type="UNKNOWN" weightage="20" keywordseo="animal-cruelty">animal cruelty</keyword>. The government is evaluating a proposal to raise its existing fines from a paltry sum of ₹50 to ₹6,000, the <a href="https://theprint.in/governance/modi-govt-hikes-penalty-for-cruelty-to-animals-by-120-times/164044/">The Print</a> reported citing sources. The move is aimed at correcting the fines to mainly adjust for inflation, said the report. The existing fines have not been changed since 1960 when India’s Prevention of Cruelty to Animals Act (PCA) was passed. Even today, under the laws, fines have ranged from ₹10 to no more than ₹50 for violated the law by mistreating the animals. Animal activists and citizens have long criticised the penalties as it wasn’t a big enough deterrent and many have termed it as a mockery. Too little, Too late? While the government is moving to correct the unjust penalties, it has reportedly ignored several Supreme Court directives to impose ‘adequate penalties and punishment’ to curtail animal cruelty. Animal welfare activists, meanwhile, have also been pushing for stringent laws. In 2016, several Indian politicians and celebrities including <keyword id="42749" type="PERSON" weightage="20" keywordseo="Shashi-Tharoor">Shashi Tharoor</keyword>, Poonam Mahajan, Baijayant ‘Jay’ Panda, <keyword id="42634" type="PERSON" weightage="20" keywordseo="Varun-Gandhi">Varun Gandhi</keyword> and <keyword id="6431260" type="PERSON" weightage="20" keywordseo="Meenakshi-Lekhi">Meenakshi Lekhi</keyword> introduced a campaign ‘No more 50’ that emphasised the penalty was far from enough. Earlier this year, India’s Supreme Court overturned a <a href="https://www.bbc.com/news/world-asia-india-40740151">ban </a>on a traditional bull-taming sport in South India following protests. The ban had put in place in 2014 after a campaign from animal welfare groups. See also: <a href="https://www.businessinsider.in/politics/policy/india-may-ban-its-poultry-and-meat-industry-from-using-a-growth-promoting-drug-linked-to-antibiotic-resistance/articleshow/66941051.cms">India may ban its poultry and meat industry from using a growth-promoting drug linked to antibiotic-resistance</a> <a href="https://www.businessinsider.in/tech/indian-airports-may-soon-replace-security-dogs-with-robotic-canines-that-can-sniff-out-bombs-and-use-x-ray-vision-to-scan-luggage/articleshow/66939904.cms">Indian airports may soon replace security dogs with ‘robotic canines’ that can sniff out bombs and use X-ray vision to scan luggage</a>

India to revise fines for animal cruelty after nearly 60 years with penalties of up to ₹6,000: Report

<ul><li>For the last few years, <keyword id="193300" type="COMPANY" weightage="20" keywordseo="Cartoon-Network">Cartoon Network</keyword> and <keyword id="10822" type="ORGANIZATION" weightage="20" keywordseo="Pogo">POGO</keyword> have focused on coming up with local animation shows that have steadily been witnessing an increase in viewership.</li><li>As the channel gets ready to launch another made-in-India show called‘Ekans - Ek Se Badhkar Snake’, we catch up with <keyword id="108258" type="PERSON" weightage="20" keywordseo="Abhishek-Dutta">Abhishek Dutta</keyword>, South Asia Network Head for Cartoon Network and POGO, to understand the impact the pandemic has had on the channel, its content strategy and the launch of its new superhero indigenous show.</li></ul>Ever since the government announced the lockdown in March last year, people have been stuck at home. It has changed the way we live, work, study, consume content and shop. The lockdown has also meant people are now spending more time at home, consuming content on different platforms. Television viewership has gained massively. Viewership in the kids’ genre too has seen an obvious uptick, with children being stuck at home. Data from Broadcast Audience Research Council (<keyword id="65298" type="COMPANY" weightage="20" keywordseo="BARC">BARC</keyword>) India earlier this year had revealed that the viewership of kids’ genre had increased by 20% during the pandemic. Non primetime kids viewing grew by 31% during the peak lockdown in 2020 compared to 2019. This spike in viewership has also led to channels in the genre to up their content game. We recently caught up with Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO, to understand the impact the pandemic has had on the channel, its content strategy and the launch of its new superhero indigenous show. The pandemic effect While a lot of other traditional medium struggled, people being stuck at home worked in favor of TV, and the kids’ genre gained from this too. While advertising spends did suffer in the initial months, things started turning in the later half of the year, specially during the festive season. On how it has been for Cartoon Network and POGO, Dutta said, “Both 2020 and 2021 have been favorable for us. We have launched two local IPs for the kids this summer. Now we are going to launch ‘Ekans - Ek Se Badhkar Snake’ which is India’s newest, homegrown tech-savvy superhero. Cartoon Network and Pogo are the only network channels in the kids category that have executed six new local shows during the pandemic in India. Covid has had an obvious impact on our business. The second wave has also come with its own challenges but we are seeing growth coming back and hopefully we'll have a better second half. In 2021, the kids genre has registered growth and the months of January to April also witnessed an upside in ad spends, when compared to 2020. The importance of local IPs <keyword id="1617156" type="PERSON" weightage="20" keywordseo="Localization">Localization</keyword> has been a critical part of both the channel’s growth in India. The new show, ‘Ekans - Ek Se Badhkar Snake’, created in-house and produced by Kolkata-based studio Hi-Tech Animation, joins the existing portfolio of popular homegrown IPs by WarnerMedia India including ‘Dabangg - The Animated Series’ on Cartoon Network; ‘Titoo – Har Jawaab Ka Sawaal Hu’ and ‘Smashing Simmba’ on the companion channel POGO. Meanwhile, the effort has also been to create content that is relevant globally too. “Today, kids demand content that is fresh, unique, local and something that resonates with them. They don’t just seek entertaining and engaging content, relatability is one of the most important factors in kids viewership today. Which is why we are confident about our new show which has all the elements that kids today are looking for, its about a superhero and the show combines mystical elements and India's heritage while adding elements of science fiction. All these aspects make it an interesting storyline. We believe the underlying impact of the show will also be to let kids know that it is acceptable to have fears and conquer them as well. Our message through the show is, every child is a superhero in their own way.” Dutta also shared that there has been a steady increase in the viewership of made-in-India content because there is a lot of choice today. “Out of the top 10 shows in the category today, seven are locally produced shows. When you see the top 20 shows in the category, 15 are locally-produced. So there is a visible appetite for local content amongst kids today.” On the growth path Throwing light on a few things that he believes will help the channels grow further, Dutta added, “Cartoon Network has a historic, rich legacy in the kids and family space owing to vibrant shows that are loved across the globe. With the launch of a Ekans, Cartoon Network will further consolidate its leadership position as the country's pioneer and most-loved animation channel. While viewership has grown, increasingly we are witnessing demand for content that can be enjoyed as family, but that is also fresh, relevant, localized and compelling. We have already taken the lead in delivering homegrown content that resonates with this trend and we’ll continue to both acquire and create our own unique and relatable homegrown content that offers a local flavor through authentic voices, India-centric characters, and regional language features. Last year, in addition to shows like ‘Titoo – Har Jawaab Ka Sawaal Hu’ on POGO, we received an enthusiastic response to the localized thought over commentaries to our iconic global favorite the Tom and Jerry show in regional languages. Apart from this, Lamput, Cartoon Network's critically acclaimed short- form animation has continued to win hearts of the global audiences. It’s a non-dialogue chase slapstick comedy which won the Best Children's program at Asian Creative Academy Awards 2020 for the third time in a row, it was also nominated for an international kids Emmy Award, which is a first for any <keyword id="1089180" type="PERSON" weightage="20" keywordseo="Indian-animation">Indian animation</keyword>.” Cartoon Network will launch its new show, 'Ekans – Ek Se Badhkar Snake' on Sunday June 27, and thereafter air from Monday to Friday, at 11:30am and 7:30pm on Cartoon Network.

Here’s why Cartoon Network continues to focus on localization

<ul><li>From <keyword id="6433339" type="UNKNOWN" weightage="20" keywordseo="Game-of-Thrones">Game of Thrones</keyword> to <keyword id="6354370" type="LOCATION" weightage="20" keywordseo="baahubali">Baahubali</keyword>, <keyword id="6486412" type="UNKNOWN" weightage="20" keywordseo="VFX">VFX</keyword> has become popular across Indian and international productions.</li><li>Oscar winning studio Framestore which won the award for films like Blade Runner 2049 and Gravity, is setting up a studio in Mumbai. </li><li>The Indian <keyword id="415861" type="PERSON" weightage="20" keywordseo="visual-effects">visual effects</keyword> and animation industry will be worth ₹184 billion by 2024, according to KPMG.</li></ul>From Game of Thrones to India’s very own Baahubali – if there was one thing that held audiences’ attention throughout, apart from the brilliant storytelling of course – it was the visual effects. The scenes transport you to a place very different from your own and make you believe that the world shown in these shows and movies do exist – and that’s the power of VFX. While Indian audiences watched GOT, little did they know that Khaleesi’s massive dragons they saw on screen were actually made in India by Prana Studios. But Indian films are craving for visual effects too, and the scale and size of Indian industry is making global studios set up shop in India. Oscar winning studio Framestore which won the award for films like Blade Runner 2049 and Gravity, is setting up a studio in Mumbai. It will also hire 500 people. But this is not its first tryst with India. Framestore earlier made a major investment in Jesh Krishna Murthy’s VFX Studio, Anibrain, in 2017. “Mumbai has become a centre of excellence in digital filmmaking. There’s a depth of talent that can deliver to the scale of Hollywood with the colour and flair of <keyword id="143" type="CITY" weightage="20" keywordseo="Bollywood">Bollywood</keyword>.In terms of visual effects, we will set the standard here as we did in Montreal almost eight years ago,” said Framestore’s founder and CEO, Sir William Sargent. But Framestore isn’t the first global company to turn to India. In 2018, global animation studio Dreamworks partnered with Technicolor to open DreamWorks Dedicated Unit, Technicolor India (DDU) in Bengaluru. And there is a reason why these companies are coming to India. The Indian VFX and animation industry is worth a whopping ₹88 billion with VFX alone holding on to ₹68.4 billion, according to a <a href="https://assets.kpmg/content/dam/kpmg/in/pdf/2019/08/india-media-entertainment-report-2019.pdf">KPMG report.</a> 
 
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 “The VFX segment in FY19 saw stereo scoping work flowing to India from international markets and a rise in VFX demand, not just from Hindi movies, but even from South Indian films,” said the report. The South Indian industry which produces a large number of fantasy movies, is early to catch on to this trend. Hyderabad-based Firefly studios was the frontrunner for Baahubali’s visual effects. The city is home to many other such studios like Makuta Studios, which won National Awards for its work in Magadheera and Eega, and also Green Gold Animation which has gained worldwide recognition for its animation series Chhota Bheem. In fact, the Telangana government is also setting up a Centre of Excellence (CoE) for gaming, visual effects and animation. Meanwhile in Bengaluru, startups like MRT Studios, Thought Cloud Studios, Videogyan, and Om Studio are making noise with their VFX work in Kannada films. Unlike South India, visual effects has not yet seen a massive uptake in Bollywood -- although it is used massively for films like Fan, Ra.One etc. Ayan Mukherjee’s next with Ranbir Kapoor and Alia Bhatt titled Brahmastra is slated to be India’s biggest VFX superhero movie. With the hustle in the sector, there are no surprises that the KPMG report predicts the Indian visual effects and animation industry to hit ₹184 billion by 2024, at a CAGR of 16%. See Also: <a href="https://www.businessinsider.in/entertainment/article/heres-why-shahrukh-khan-is-still-the-king-of-bollywood/articleshow/71862029.cms">Shah Rukh Khan is still the reigning star of Bollywood with no else on the horizon to claim the throne</a>

Lights, camera, and visual effects! Decoding the vast potential of Indian VFX industry

<ul><li>The Indian government is reportedly looking at banning the antibiotic <keyword id="3376610" type="PERSON" weightage="20" keywordseo="colistin">Colistin</keyword>, which is used as a growth-promoting agent for animals, LiveMint reported. </li><li>The drug in question is linked to antibiotic resistance in humans. </li><li>An investigation by the London-based Bureau of Investigative Journalism has also found that a key supplier of chicken to fast food eateries in India uses the drug. </li></ul>The Indian government may ban the use of the antibiotic colistin, a drug used as a growth-promoting agent in animals that has been linked to antibiotic resistance, Mint <a href="https://www.livemint.com/Industry/yt5eE5hqMLYP1px2d63Q1K/Govt-may-ban-antibiotic-colistin-used-to-fatten-chicken.html">reported</a>. The drug is already banned in many countries including <keyword id="1334" type="LOCATION" weightage="20" keywordseo="China">China</keyword> and Malaysia. The overuse of antibiotics can lead to bacteria developing resistance against the effect of the drugs, a growing public health concern for India. Antibiotic-resistant infections <a href="https://www.businessinsider.in/antibiotic-resistance-kills-over-50000-children-in-india-annually/articleshow/66687904.cms">reportedly </a>kill over 58,000 children in India every year. Earlier in 2017, the Indian government <a href="https://doctor.ndtv.com/living-healthy/government-to-set-permissible-limits-of-antibiotics-used-in-animals-1778136">had restricted</a> the use of antibiotics used to induce growth in animals given its adverse impact on human health. A key supplier of chicken to India’s fast food eateries has also been found using Colistin, according to a <a href="https://www.thebureauinvestigates.com/stories/2018-10-12/worlds-biggest-animal-drugs-company-sells-antibiotics-to-fatten-livestock-in-india-despite-superbug-risk">report </a>by the London-based Bureau of Investigative Journalism. That report also found that <keyword id="1184921" type="COMPANY" weightage="20" keywordseo="Zoetis">Zoetis</keyword>, the world’s largest animal drugs maker, has been selling antibiotics to Indian farmers because of loose regulation in the country. Zoetis has maintained its drugs are safe for use under the correct supervision. However, the parent of KFC and Pizza Hut, Yum Brands Inc., has <a href="https://www.livemint.com/Industry/yt5eE5hqMLYP1px2d63Q1K/Govt-may-ban-antibiotic-colistin-used-to-fatten-chicken.html">reportedly</a> said that they follow the regulations put by the government for the use of antibiotics. It also mentioned that its food items are free from such growth promoters.

India may ban its poultry and meat industry from using a growth-promoting drug linked to antibiotic-resistance

New Delhi, Mar 6 () The central government on Friday asked people not to pay attention to false rumours that the novel coronavirus was spreading through non-vegetarian food like eggs, chicken, mutton and seafood. Union Fisheries, Dairying and Animal Husbandry Minister Giriraj Singh said even the World Organisation for Animal Health (OIE) as well as the Indian food safety regulator FSSAI have said there was no scientific evidence to prove transmission of coronavirus from animals to humans."The false rumour has hit thousands of farmers engaged in this business. The livelihood of farmers and the people engaged in the entire value chain have been affected. I humbly request people not to fall prey to such rumours," Singh told reporters.The industry has estimated about Rs 2,000 crore a day loss in the poultry sector alone as prices of chicken have declined by about 70 per cent in just a month alone to Rs 30 per kg in the wholesale market, he said.An order issued by the Lucknow District Magistrate recently on maintaining general hygiene in the poultry sector was "misread"and "misinterpreted" in the media which created further panic among people, he added.The consumption of Indian poultry products including eggs is safe and a general hygiene, however, must be maintained," Singh said.Minister of State for Fisheries, Dairying and Animal Husbandry Sanjeev Balyan also urged people not to believe such rumours spread through social media.Even maize and soya farmers are affected as these products are used as animal feed in the poultry sector, he added. LUX MKJ

Eating non-veg food doesn't cause coronavirus infection: Giriraj Singh

<ul><li>The Railways witnessed 31 animal deaths per day for four years </li><li>The number has been continuously increasing every year. So far, <keyword id="61376" type="PERSON" weightage="20" keywordseo="train-accidents">train accidents</keyword> killed 3,479 animal in 2019. </li><li>Last year, the number of animal deaths stood at 12,625. </li></ul><keyword id="6355455" type="COMPANY" weightage="20" keywordseo="indian-railways">Indian Railways</keyword> Minister <keyword id="6355222" type="PERSON" weightage="20" keywordseo="piyush-goyal">Piyush Goyal</keyword> said that as many as 35,732 animals were killed on the railway tracks in the last four years. Out of the total, 65 were elephants, <a href="https://www.deccanchronicle.com/nation/current-affairs/240719/hyderabad-31-animals-crushed-to-death-on-rail-tracks-every-day.html">reported</a> Deccan Chronicle. All in all, every day, 31 animals died on the tracks for the last three years. According <a href="https://www.thehindu.com/news/national/over-32000-animals-killed-on-railway-tracks-in-2016-18/article28280406.ece">to the official data</a>, the number has been continuously increasing every year. Train accidents killed 3,479 animals until June this year. Last year, the number stood at 12,625. The animal deaths were no more than 3,000-4,000 in 2014-15. A senior railway official has earlier <a href="https://www.thehindu.com/news/national/over-32000-animals-killed-on-railway-tracks-in-2016-18/article28280406.ece">said</a> the increasing number of animal deaths was a cause of cause since the number of train accidents was decreasing. Nearly 2,330 elephants have died on the railway lines in the last six years. (BI link) The Railway Minister<a href="https://www.deccanchronicle.com/nation/current-affairs/240719/hyderabad-31-animals-crushed-to-death-on-rail-tracks-every-day.html"> also assured</a> the government that they are taking steps like fencing the area and introducing<a href="https://www.businessinsider.in/indian-railways-introduce-buzzing-bees-to-keep-elephants-away-from-train-tracks/articleshow/70169025.cms"> buzzing bee sound to scare animals away.</a>

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