To embark on a career in creative multimedia, technical know-how and soft skills are essential. But most importantly, as Tech&U found out from those in the business, there must be passion.

Usop Sontorian

Safrizan Mohd Razali, head of compositor, Les’ Copaque Sdn Bhd

Digital compositing primarily deals with colours. It is the process of digitally assembling multiple images to make the final image for print, motion picture or screen display.

“After rendering (which means generating an image from a model by using computer programs), a scene is quite raw and needs to be touched up to give it appropriate highlights, tones and contrasts. This is important to give a certain mood to the scene, for example, a sense of mystery in a night scene. The challenge is to convey the mood to the audience and get them to feel it, too. It gets more complicated with visual effects such as smoke or fire,” he says.

Safrizan has been with Les’ Copaque since 2006 after having attained his Bachelor of Arts from RMIT in Melbourne, Australia.

To be a compositor, Safrizan says one must have sensitive eyes and, of course, must not be colour blind.

“The interest must be there. The person must enjoy photography – all aspects of it such as colours, perspective, texture, and have skills in Adobe

After Effects and Autodesk Maya.”

Les’ Copaque offers training courses related to the job. The latest is a three-week 3-D modelling course.

n Tony Mun, senior 3-D animator, Shock3D! Sdn Bhd

3-D animators basically model characters and objects based on conceptual illustrations and build them up using 3-D computer graphics.

“For 3-D animations, objects (models) are built on the computer and 3-D figures are rigged with a virtual skeleton. What animators do – to put it simply – is add meat to the bones and make the characters move. Animating the characters is essentially story telling through movements and expressions,” Mun says.

To be able to do this, an animator should have a foundation in 2-D animation and skilled in Autodesk Maya. The person should also have a foundation in art – most common is either a background as a multimedia designer or a concept artist.

“One must be passionate about the job as it takes a lot of time and effort to complete a project,” he says. He has been at it at various levels for some five years. The latest project is Shock3D’s animated film Alamaya which is due to be ready by 2011.



n Adinashriq Sahidin, graphics designer, Ed-Online Technologies Sdn Bhd

Other than movies and games, creative multimedia also involves things such as multimedia content for learning, a line of business that Ed-Online Technologies Sdn Bhd has been doing since 2001.

At present, graphics designer Adinashriq Sahidin is involved in one such project, creating courseware for primary school students based on the national syllabus.

“I create a visual representation of ideas and messages within the syllabus – either in animated characters, background, or scenes based on topics and situations. Bear in mind that this is for primary school students, so it has to appeal to the target group as a learning tool,” he says, adding that skills in Flash is essential.

The job has its moments, too.

“Believe it or not, I actually learn things that I have left in school long ago and it’s quite fun. But there are challenges like having deadlines to meet and consultations with the people who commissioned the project,” he says.

Having graduated from UiTM with qualifications in photography, he has chalked up experience in art and design, and he looks forward to gaining more knowledge.

“This courseware will be on CD. I hope to branch out to other mediums as there are vast opportunities to do so,” he says.



Telling stories through animation

EFFORTS to round up like-minded folks and promote the animation industry through the creation of a unique local identity is being undertaken by the Animation Society of Malaysia, or Animas.

Founded by industry veterans Hisham Harun Hashim, Hassan Abd Muthalib and Kamn Ismail, Animas is a non-profit organisation whose members and member companies specialise mainly in, but not limited to, 2-D or 3-D animation.

Hisham is the producer, executive producer and co-screenplay writer of Malaysia’s first animated feature, Silat Legenda (Legendary Silat Warriors, 1998).

Animas’ president Hassan is a pioneer in the animation industry and has written and directed the popular Sang Kancil (Mousedeer Tales) of the 1980s and directed Silat Legenda.

Kamn was the originator and director of the first Malaysian animation TV series, Usop Sontorian (The Village Boy, Usop Sontorian, 1995).

According to Hassan, Animas aims to encourage the expression of all forms of animation – cartoons, claymation, paper cut-outs, virtual reality and holograms – that will have an impact in Malaysia as well as the international market.

“Because of the wide range of animation expertise that we cover, we know the factors that affect animators and their work. We fully support the development and setting of standards in animation that can benefit the industry. Most importantly, Animas supports the continual development of animation education in Malaysia,” he says.

Hassan adds that while technology makes everything easier these days, the core of animation is still storytelling through the visuals – a point often missed in the proliferation and advancement of technology throughout the industry.

A good animation course, he says, should have two components to it: to be able to provide the necessary knowledge and skills to would-be animators. These are story telling, which covers things like ideas, themes and acting; and story making that includes animation techniques, editing and cinematography.

“By creating awareness about animation and its storytelling capabilities, we can create an appreciation for this art form on a wider scale. With participation from various shareholders, Animas can grow and assist in taking the industry into greater heights,” Hassan remarks.

And the key is to have continued support from the Government.

“We believe many companies can stand to benefit should there be more funding available. We need more success stories to get parents to see the potential so that more will enter the industry,” he says.

Hassan’s concern about human resources is echoed by Kamn.

Kamn, who is managing director of Quest Animations (M) Sdn Bhd, says manpower issues has remained the same as he first started out with Usop Sontorian in 1995.

“Then, to get the relevant workers, we went scouting around the country looking for youngsters who could draw. We gathered 97 students whom we taught and nurtured. The 97 has since multiplied to 300 and have went on to various jobs in the industry. This is something that we have continued to do today,” he says.

Kamn says an animator needs to start as an assistant first - whether at the story boarding, doing background animation or clean-up animation, before moving on to becoming a team member, leader and a full head.

“Of course, the technical aspects are taught. After one month, we can determine whether a person is cut out for the industry. The process is painstaking but it gets results.”

The training continued in his completed new animation series Duwi, which is slotted for broadcast in RTM1.