[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-148947-en":3,"doc-seo-148947-105":31,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},148947,137441390410,"Hazel","https://ap-avatar.wpscdn.com/avatar/2000252f4ab5702993?_k=1776741390130283984",2,"Literature","AnimationXpress Spark - Dec 2016","AnimationXpress Spark Dec 2016面向亚洲电视论坛（ATF）发布，聚焦印度动画与VFX内容产业的国际化进程。文章强调印度工作室在创作原创IP、少儿内容与全球受众连接方面的努力，并回顾从本地消费到与国际创作者协作、让作品“可旅行”的转变。内容还概述亚洲动画市场的扩张背景、东方式文化内容的全球影响，以及日本、中国等地区产业发展的路径与趋势。","You are holding the first copy of AnimationXpress’s Spark magazine  \nwhich has been produced for the Asia Television Forum. It is a very modest effort, but it is a first for us for this region.  \nThe first of many more initiatives we hope to take going forward, as India’s animation. VFX, comics, gaming, and TV industries begins its forward march to deliver content that international audiences can connect with and watch.  \nWhat’s pleasing at this year’s Asia Television Forum (ATF) is the large contingent of Indian animation studios creating original IP and kids content distributors who have chosen to come and learn, share and partner  \nwith Asia’s and the world’s finest. It is probably the largest Indian delegation to attend ATF in its history.  \nIt’s a sign of the times: India’s animation studios are not happy just staying at home. They are looking at leaving their stamp globally. While in the first wave studios worked on creating IP that whetted the appetites of consumers locally, today they are working with international animation creators, artists, writers, to create product that can travel.  \nThe march into that territory has just begun. Whether it is a Captain Cactus from the Cosmos Maya studio or a Six Cylinder Samurai from Green Gold Animation, which made a huge success of its Chhota Bheem franchise, the guns are being trained on satisfying the entertainment needs of young viewers the world over. And there is a whole bunch of newbies – digital studios such as ChuChuTV and Videogyaan – which have attained some success with their basic digital animation offerings, that are looking further afield.  \nSome studios have gone ahead in the past with their international ambitions: the P. Jayakumar-headed Toonz Animation has an European outpost in Imira Studios through which it is making an entry into Europe. DQ Animation which partnered with Method Animation and even took a minority stake in it more than half a decade back has been a pioneer in thinking global.  \nWill it work this time around? The chances look better than they did in the early part of this decade. The world is becoming increasingly global. The Indian studios have polished their pipelines – whether 2D or 3D stereoscopic CG animation – and are skilling up on story telling, character building, marketing and partnerships. It is quite likely this effort at going global will have a different ending for Indian animation.  \nAnil Wanvari  \nArtist: Renjith G from Toonz Media Group  \nFounder, CEO & Editor in chief  \nEditor in Chief  \nAnil Wanvari  \nDirector-Commercial & Revenues  \nAnoop Wanvari  \nDirector-Operations & Resource Management  \nLarysa Savinska  \nEditorial  \nPrerna Kothari Krishanu Ghosal  \nDesign  \nAkhil Pingle Siddesh Tamse  \nAd Sales  \nNeha Singhal Shruti Anand  \nShruti Gadia  \nAnimation Xpress India Pvt. Ltd.  \nC-350,Oshiwara Industrial Center, New Link Road, Opp Oshiwara Bus Depot, Goregaon (W),  \nMumbai, 400104, India  \n[connect@animationxpress.com](connect@animationxpress.com)[ ](connect@animationxpress.com)©[AnimationXpress.com 2016](AnimationXpress.com 2016)  \n04  \nAnimation Xpress Spark | Dec 2016  \n~~ ~~ CONTENTS ~~ ~~  \n6  \nThe Sun Always Rises in the East  \n8  \nShivaay: Taking Visual Effects to another level in Bollywood  \nWhat goes inside the creative mind of an Indian animation film-maker?  \nVideogyan: a digital creator  \nwhich makes it look like kids play  \nAnimantz makes a dash for original content  \n14. Studio News  \n11  \n12  \n13  \n05  \nAnimation Xpress Spark | Dec 2016  \nView Point  \n\n| The Sun Always\u003Cbr>Asia and its rich mythical ancient origins and\u003Cbr>history have always been a magnet for the\u003Cbr>rest of the world. It is therefore no surprise that content based on eastern culture such as Kung Fu Panda or inspired philosophies from the east such as Avatar is consumed voraciously worldwide.\u003Cbr>While most Asian nations have, for the large part, grown their markets through sub contracting work from Japan (such as Korea and China) and the west, th","cbCaiuXHGGoLpSx9","https://ap.wps.com/l/cbCaiuXHGGoLpSx9","pdf",7490976,4,1,16,"English","en",105,"# View Point - The Sun Always Rises in the East\n## India and Asia’s IP push\n## Japanese and Chinese animation industry trends\n## Market expansion toward ASEAN","[{\"question\":\"AnimationXpress Spark Dec 2016的核心关注点是什么？\",\"answer\":\"聚焦ATF语境下印度动画与VFX等内容产业的国际化发展，特别是原创IP与少儿内容面向全球受众的布局。\"},{\"question\":\"文中如何描述印度动画从“本地”走向“全球”的变化？\",\"answer\":\"从早期以本地市场为主的IP创作，转向与国际动画创作者、艺术家与编剧合作，制作更具跨市场传播潜力的内容产品。\"},{\"question\":\"亚洲动画产业增长的主要驱动因素有哪些？\",\"answer\":\"强大的国内市场、高技能劳动力与较低制作成本推动扩张；同时，欧洲与美国的经济波动也促使需求向亚洲，尤其是东南亚地区转移。\"}]","AnimationXpress Spark - Dec 2016 | PDF",1787789475,25,{"code":4,"msg":32,"data":33},"ok",{"site_id":25,"language":24,"slug":34,"title":13,"keywords":35,"description":14,"schema_data":36,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":29},"animationxpress-spark-dec-2016","",{"@graph":37,"@context":85},[38,53,68],{"@type":39,"itemListElement":40},"BreadcrumbList",[41,45,48,51],{"item":42,"name":43,"@type":44,"position":21},"https://docshare.wps.com","Home","ListItem",{"item":46,"name":47,"@type":44,"position":11},"https://docshare.wps.com/document/","Document",{"item":49,"name":12,"@type":44,"position":50},"https://docshare.wps.com/document/literature/",3,{"item":52,"name":13,"@type":44,"position":20},"https://docshare.wps.com/document/animationxpress-spark-dec-2016/148947/",{"url":52,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":24,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":42,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-09-04","2026-08-27",true,{"@type":65,"interactionType":66,"userInteractionCount":20},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"AnimationXpress Spark Dec 2016的核心关注点是什么？","Question",{"text":75,"@type":76},"聚焦ATF语境下印度动画与VFX等内容产业的国际化发展，特别是原创IP与少儿内容面向全球受众的布局。","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"文中如何描述印度动画从“本地”走向“全球”的变化？",{"text":80,"@type":76},"从早期以本地市场为主的IP创作，转向与国际动画创作者、艺术家与编剧合作，制作更具跨市场传播潜力的内容产品。",{"name":82,"@type":73,"acceptedAnswer":83},"亚洲动画产业增长的主要驱动因素有哪些？",{"text":84,"@type":76},"强大的国内市场、高技能劳动力与较低制作成本推动扩张；同时，欧洲与美国的经济波动也促使需求向亚洲，尤其是东南亚地区转移。","https://schema.org",{"og:url":52,"og:type":87,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":89,"canonical":52},"index,follow",{"doc_id":7,"site_id":25},{"code":4,"msg":5,"data":92},[93,97,100,104,109,114,119,124,129,132,136],{"id":21,"doc_module":4,"doc_module_name":47,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":47,"category_name":12,"show_sort_weight":98,"slug":99},80,"literature",{"id":20,"doc_module":4,"doc_module_name":47,"category_name":101,"show_sort_weight":102,"slug":103},"Exam",70,"exam",{"id":105,"doc_module":4,"doc_module_name":47,"category_name":106,"show_sort_weight":107,"slug":108},5,"Comic",60,"comic",{"id":110,"doc_module":4,"doc_module_name":47,"category_name":111,"show_sort_weight":112,"slug":113},6,"Technology",50,"technology",{"id":115,"doc_module":4,"doc_module_name":47,"category_name":116,"show_sort_weight":117,"slug":118},7,"Healthcare",40,"healthcare",{"id":120,"doc_module":4,"doc_module_name":47,"category_name":121,"show_sort_weight":122,"slug":123},8,"Research & Report",30,"research-report",{"id":125,"doc_module":4,"doc_module_name":47,"category_name":126,"show_sort_weight":127,"slug":128},9,"Religion & Spirituality",20,"religion-spirituality",{"id":127,"doc_module":4,"doc_module_name":47,"category_name":130,"show_sort_weight":127,"slug":131},"World Cup","world-cup",{"id":133,"doc_module":4,"doc_module_name":47,"category_name":134,"show_sort_weight":133,"slug":135},10,"Lifestyle","lifestyle",{"id":137,"doc_module":4,"doc_module_name":47,"category_name":138,"show_sort_weight":105,"slug":139},19,"General","general"]