At the time when the Covida 19 pandemic paralysed the film and television industry, Chhota Bhems, Little Singhams and Motu Patlus lived off the world of Indian animation. They continue to entertain the public with new episodes, introductions and content editing on different platforms.
While there are no film and television channels that rely on rebroadcasts to attract viewers, animation is an industry that can bring new entertainment to the market with its content bank, and industry experts recognize that there are real setbacks in dubbing and final delivery.
Slowly but surely, all aspects of the production work outdoors, says Anish Mehta, General Manager of Cosmos Maya Animation Studio, adding that new episodes of our shows are being created every day. Their new presentations include Guddu, Bapu and gadgetguru Ganesha at Disney India and the OTT Zee5 platform, with the exception of Motu Patlu and Selfie With Bajrangi, as well as their own IP addresses Lambuji Tinguji and Titoo.
According to the latest BARC data, children, for whom the summer holidays started slightly earlier as a result of the coronavirus crisis, are gaining content, reflecting a 39% increase in the audience of children’s television channels compared to the period before Covida-19.
Anu Sikka, content manager for the children’s entertainment group, Nickelodeon India and Viacom18 , says they were ready in April to introduce new content for the post-review period, but then the schedule was tightened up a little until March. The cartoon network and POGO also released new content such as the Chhota Bheem Kungfu Dhamaka series and introduced Bandbudh aur Budbak from April to May.
In fact, Sikka adds: The animations have an enormous durability and a high repetition value, even under normal circumstances.
According to Uttam Pal Singh, head of Discovery Kids, the pace of work slowed down to 70%, but the team behind Little Singham was able to produce 20 episodes of the series in a closed context. They were also able to deliver other episodes of the series with Fukrey Boyzzz, their Bollywood-style owner.
According to Singh, the only obstacle is the voice-over, because the speakers cannot enter the studio. One of the ways they got it done was by cutting the Hindi tape from 5 to 1. However, he believes that this phase is a good opportunity for the animation industry to explore new ways of working with e-commerce.
This was confirmed by Rajiv Cilaka, CEO and founder of Green Gold Animation, who was the first to say that panic broke out when the blockade was declared. However, the possibility to work from home made it possible to continue the work, despite the technical problems related to the connection. So while the final delivery may not take place in the system for some projects, he adds: We’ll be able to make up for it soon as the lockdown is complete.
However, Chilaka believes that the special effects industry is in a larger place.
Katan Yadav, Managing Director of Redchillies.vfx & Color, explains the main difference While the animation is fully computer generated, the VFX has an element of live action. And a lot of projects get stuck because there is a dependence on the content, unlike animation, which can be launched completely from home, from nowhere, Yadav says.