David Kwok's Tiny animated ambitions

BBC created a special series on entrepreneurs.  This week, BBC News zoomed in on 3D animation studio, Tiny Island Productions, set up by Singaporean David Kwok.

After working as an engineer for many years, he abandoned his government job, starting at the bottom to carve out a new career in cartoons and animation.

Since setting up his company in 2007, it has grown from four staff to 120, servicing clients in the US and Europe, and includes an animation school, CG Protege which trains 3D modelers, character animators and visual effects artists.  Dave shares with the BBC his passion behind his success.

Watch the clip here: http://www.bbc.co.uk/news/business-22088371

Interview with David Kwok our CEO

Tell us about your trip to USA

The recent trip to LA and New York has been fruitful. We have met with top executives from Blue Sky Studio, Sony Pictures Animation, Warner Brothers Animation, 20th Century Fox Animation, Bardel Entertainment, Hasbro Studios, Saban Brands and Dreamworks Animation. There is a lot of potential over there. Being good in what you do is just the first step, building relations and contacts is the next important thing.

What are your thoughts on the animation industry in Singapore today? In terms of things we are doing well and what we need to improve.

Singapore has a very good worldwide reputation in terms of doing business in this industry. And we have a good IP protection system. Many companies see us as a gateway to Asia and the trust level on Singaporean companies is very high.

Since we first started. We had been focusing a lot in building production skills, which is essential. But moving on, we should look at skills in business and production leadership, distribution, IP creation, licensing and merchandising to build the entire ecosystem.

Due to our cost, we cannot establish ourself only as a service hub for production. Or else our situation will end up like the manufacturing sector, where work is moving on to cheaper places like India and China. We do not want to just manufacture sports cars. But we need to look into designing sports cars.

We need more entrepreneurs to build our SMEs and hopefully, become an MNC someday. In this way, we can have a sustainable industry. In order to survive, we need to learn how to stand on our own two feet and create opportunities for ourselves. We need to control our own destiny.

How can we solve these problems?

One way to look at it is creating an ecosystem in the industry. This is not easy. One needs to understand the whole business mechanism and establish a strategy. We can begin with looking at establishing IP companies. It can be a startup with just a few people, like the early days of multimedia and web companies.

If we slowly establish a cluster of 50 to 100 good IPs companies. Then slowly, it would makes sense for animation production companies to grow and produce pilot episodes and teasers for these companies. Toy and merchandising companies will start coming in to shop for content. Licensing and merchandising companies will move in, followed by IP legal companies, distribution companies and investors in these areas. Other areas of growth for the IP could be games, digital music and ebooks industry etc. And then slowly we will create an industry.

In the west, due to the economic situation, many companies are looking into Asia. It is a good time to attract people here in areas where we are weak at. Previously, western companies are only in Asia looking for outsource partners. Now they are looking for co-investment and production partners, If you look closely at many government efforts in the region, e.g Korea, Japan, China, Thailand, Malaysia etc. Everyone is looking at animation and IP creation. Its a question of who is sharp enough to establish the ecosystem first. And with this, you need good business leadership in this field. Whoever establishes the ecosystem first will attract others in the region to go to them for a one stop solution.

In your opinion, what makes Tiny Island different from other studios?

For Tiny Island, we do not compete in cost. With our track record in IP creation and monetisation, our clients don't come to us because our cost is low. They come to us because they see us as a good partner. As not only do we have knowledge in IP development, we are also well connected in Asia.

On top of that, we have the ability to create what we call, Future Proof Content. Which means that we partner with technologists to ensure that our content will be able to travel beyond TV to maximise the opportunities and exposure.

If you compete in cost, you will go down in no time. As such, we began to have clients who are just investors in IP. They need someone who is be able to advise them from start to end in the whole cycle. And we come out with a business strategy to monetise the IP. On our own. We are also slowly forming our own ecosystem. And our next venture will be on licensing/merchandising/distribution.





How has the local and global industry evolved over the years, has there been major shifts economically / technologically / creatively?

Yes. The recent problems in the western economy has driven opportunities to Asia. And now the production capabilities in Asia is much better than before. Asia is now able to create its own content instead of just outsourced work.

Now you see more talents from Asia going to the West to learn from the schools over there as well as bring back work experience to set up shop here. We also start seeing more and more western talents coming to Asia. In the past. Western companies are only here to look for outsource partners. But now they are here to look for investments, co production partners etc.

The purchasing power in Asia is also getting stronger as Asians gets richer. We now have a strong licensing and merchandising market. The piracy situation in China is also getting better, companies there are now looking into creating their own IP because they see a potential in this. As the world gets more connected , Asian companies are travelling to more Western Markets and getting the best from both the East and West.

What are your thoughts on Rhythm and Hues' bankruptcy, and the branches of western studios setting up over here

Nothing is going to stop globalisation and outsourcing. Just like manufacturing, competing in price is definitely not an option. One need to relook at its company's strategy and create a sustainable business model. One needs to look at how to move up the value chain.

Is China an attractive market? Do we (Singapore) have a better chance of entering china compared to a US studio?

It still is a very attractive market given the size of the population, but it is not easy (at least for me). Whether Singapore has a better chance, to me it is all the same. Everything boils down to connections.

The way I look at businesses is not about which country they are in. Its about collaborative effort within countries and studios. It is a big world out there, we need to work together to create opportunities for ourselves. Whoever has better connections will succeed.

Is there any particular area lacking talent? Are there enough institutions supporting the supply of these talents?

I feel that we can build up our strength in pre-production work. Currently I feel that there is not enough training in such areas. Other area that we can build up is in business planning and production leadership. But these have to been done through apprenticeship, not classroom lessons.
How important is the transfer of overseas skills to the local workforce, how are you supporting it?

Yes it is important. We are bringing in the best talents from overseas to work with us in terms of training and knowledge transfer. We also send talents overseas for job attachments with the help of our government.

Any input on art education in Singapore?

Artistic education should be something ongoing that never stops even after we started working. SOTA is a good start to create such a good learning environment at a younger age.

What kind of people are you looking for when you hire talents? Top 3 hiring qualities ?

We are looking for those who value our vision and want to build a company together with us. The candidate should do ample research to understand about our company. In terms of qualities: 1.) Feel proud about what we do and want to play a part in building our company. 2.) Knowledgeable about the industry and eager to learn new things. 3.) Positive, humble and willing to start from the bottom.

Tailoring one’s reel to the job he is applying for is essential as well.

What is your vision for Tiny Island? And what is your vision for Singapore while we are on the topic.

My vision for Tiny Island is for it to be a global company that creates its own IP and eventually, handle its own licensing and merchandising. I also hope that Tiny Island can create a strong family culture for its staff.

On the education front, my vision for CG Protege is to create a hub for the knowledge exchange in this field. Where we gather the best talents in Singapore and overseas to work with us.

As for Singapore. I hope to see it becoming an ecosystem as described above. Else our destiny will be like the manufacturing sector.

What advice would you give for budding artists and entrepreneurs if they want to pursue this industry?

Be connected to the industry and be passionate in what you do. Networking is very important. Prepare to take risks and start building contacts and connections.

Something I kept reminding myself, "Are you going to be just a member of the orchestra playing the same old song, or are you going to stand up and be a part of the future of this industry?" Words from Carl Rosendahl, founder of PDI Dreamworks.

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Alumni interview with Jeremy Olanda, winner of CGFeedback - Mini Challenge

" We are proud to feature Jeremy Olanda, an alumni of our CG Protege Animation School in today's interview. Jeremy has been an outstanding student and continues tirelessly to brush up and improve in his modelling skills even after completion of his WSQ Diploma in Animation (Modelling & Texturing). He is often seen on modelling forums helping out and learning from the CG community. We are proud to see that he has further improved his skills by winning a peer reviewed modelling competition - the highly competitive CGFeedback.com  Mini Challenge. 

CGFeedback is an online forum for CG artists and enthusiasts who want to improve their skills will get professional feedback on their artworks.The idea of this forum is to focus on tutorials, sharing tips and tricks more than showing off finished pieces (even though there is a finished section)"


COULD YOU TELL US A BIT ABOUT YOURSELF AND YOUR BACKGROUND IN 3D MODELING? 

I'm Jeremy Olanda from Philippines and currently residing in Singapore. As a kid my hobby is drawing superheroes and mostly fantasy arts using scratch papers and newsprint. During my teenage years, I've done portraits of some of my friends mostly charcoal painting and earned from it and added to pay for my daily expenses.

I received my basic 3D training course - A Maya certification course for beginners in animation. The class is every Saturday that lasted for less than 3 months. From there I learned basic skills in Maya 6 like familiarizing on UI,modeling, a bit of texturing, rigging and animation. I knew I can improve my skills, so I continue to search from the web and found CG Protégé. That was the start of my 3D modeling in CG Protege Animation School. I have completed my formal 3D training after 8 months. It’s a course on Advanced Certification on 3D Modeling for Visual Effects and Animation. From there, I learnt figure drawing, 3DS Max modeling, proper topology, shading, a bit of rigging and rendering, Mudbox for sculpting (during that time Texturing is not yet supported) and Photoshop for texturing.

WHAT SOFTWARE PROGRAM(S) DO YOU USE FOR YOUR CG AND WHY?

Software used are the following:

1) I used 3DS Max Mental Ray for rendering the character as it is easier and straight forward to setup the skin subsurface scattering shader. I used Tony Reynolds modified version from Master Zap's skin shader as Maya doesn't have this kind of plugin. I also used 3DS Max default hair and fur using MR prim.

2) Mudbox for sculpting and texturing. I used Mudbox for this Mini CG challenge on Jack Nicholson because of its better perspective alignment and paint projection tool. I can align my sculpted model for the reference image. Texturing is way far superior than Zbrush although Zbrush's sculpting tools are way better than Mudbox. But still I used Mudbox for sculpting because most of the features I'm using for sculpting brushes are already supported unless I want more advance features like the sculpting brushes from Zbrush. Another thing is the creation of Displacement & Normal Map, it is easier to extract and setup in 3DS Max as compared with Zbrush.

3) Photoshop for compositing. I used this for adjusting the saturation and color balance.

WHICH AREA OF 3D DO YOU REALLY ENJOY DOING AND WHAT'S THE MOST USEFUL THING YOU HAVE LEARNT IN 3D?

Modeling, Texturing and Rendering are the areas I enjoyed. Proper 3D workflow, use of consistent FOV for perspective view while sculpting are the 2 most useful things I learned so far in 3D.

PLEASE TELL US ABOUT YOUR LATEST WORK "JACK NICHOLSON MODEL", WHAT PROBLEMS YOU ENCOUNTERED AND HOW YOU OVERCOME THOSE?

CGFeedBack forum provided us the base mesh (already has UV Mapped) for sculpting and texturing Jack Nicholson.

Gathered Photo References

I gathered references from google or his movies. I look for his front, side, quarter view, bottom and back view if available. The more pictures you have with different angle the more likeness you'll get of him. Then I aligned front and side views. I choose a certain FOV based from the reference.

Sculpting Stage

Usually, I do first the silhouette of the model and carefully do shapes and form of the face, eyes, nose, mouth and ears. Make it as close as the original reference as possible. I used Image plane to load the reference picture and aligned the base mesh. I then proceed to define and refine the sculpted model (adding wrinkles, pores etc.)

Texturing Stage

The model was textured using stencils and painting projection. The textures are done in combination of hand painting and photo references.

Setting Up the Model for Final Rendering, I setup the model in 3DS Max based from the following:

Materials and Shaders - I used Tony Reynolds Skin shader (a revised version based from Master Zap's skin shader. It’s a free plugin (But others mentioned VRaySSS2 shader is better. I want to try it next time.)

Eyes - I follow the photo reference of Jack with a cat's eyes due to the reflector or the position of the lights used in the photo.

Hair - I used 3DS Max default Hair and Fur with MuHair plugin and set to MR_prim. ( I tried the HairFarm trial version, it's definitely good and it's fast but you'll need the released version because you can't save the trial version =) This is the area that I need to work on. Hair is not easy to setup. I used spline for the guides but it needs detailed attention to get it right. Luckily I've done the close up so the image needs a depth of field to blur the out of focus area to look convincing like a photo shoot. This method hides the hair texture that I don't have time due to limited time as the challenge is closing.

Camera - I follow the FOV used in Mudbox to matched with 3DS Max. This is a bit tricky as it's not directly translated. I tried the manual method of eyeballing it. Another way to do is to save the model as an FBX file to save the camera setting from Mudbox so that it will match with the camera in 3DS Max. I encountered a problem using the "send to 3DS Max" option in Mudbox, it can't save camera settings. It's possible that I need to update the FBX plugin/importer/exporter. But due to limited time i didn't do it as I already have an alternative way to do it as I mentioned earlier.

Lighting - I used HDR image for Environment and eye reflection and 2 photometric lighting to highlight more the HDR image. I setup 2 lights in front of the model.

Rendering - I used mental ray with depth of field based on camera shutter speed and ISO.

HOW DID CG PROTEGE HELP YOU IN YOUR 3D MODELING JOURNEY?

CG Protege strengthen my awareness in CG. I considered CG Protege as my stepping stone and foundation of knowledge and skills. The people there are supportive and helpful. They'll really push you in a positive way and inspired you. Special thanks to my instructors, David as my critics and adviser who gave his time for helping me to enhance my work. I would also like to thank Adrian for his valuable teachings (tips and tricks) on 3DS Max and Mudbox, and also Dominic for his cool teachings on Figure Drawing.

WHAT ADVICE WOULD YOU GIVE TO FUTURE WANNA BE MODELERS OUT THERE?

I think you need to use a M.A.P to guide and locate your path. This is not only applicable to modelers but as to any other career in general. M::Motivation, stay motivated to learn new things or process. Be resourceful and help yourself to grow as an artist. A::Application, you need to apply the learned process. Reading and watching demo of a professional artist, drawing/painting or sculpting/modeling or even a demo of a new software without application will not fully increase your knowledge to learn without trying. Chances are you'll forget that new knowledge because you haven't experience the mentioned process. And to complete the M.A.P, P::Passion, without this you'll not grow as an artist. Passion is the driving force that makes you stay motivated and always have a feel of hunger to learn new things. As this career needs a constant continuous learning on improving skills for better workflow and sometimes testing and learning new software.

I think that's all for now. Hoping that you guys learned something from it. Use M.A.P.

Happy modeling!

- jeremy -

Interview with one of the CG Protege Alumni

From Singapore Navy to becoming an Animator, and eventually getting a chance to work on Ben 10: Destroy All Aliens, a Telefeature for Cartoon Network that has been shown worldwide.

Click here for the interview.

Step Up and Animate your dreams

Interview with our CEO - David Kwok, AnimationXpress

by AMRITA VALECHA



Could you explain to us about the Training Philosophy of CG Protege?

The key focus of our training program is that of the partnership between the trainer and the trainee, with the shared goal of keeping Singapore competitive in the global CG industry by raising the standard of work done here. 

As the work of our previous trainees will testify, the rapid progresses they make in learning and improving their show reels over the course of the part-time program are due to the high levels of dedication and commitment shown by both trainers and trainees. We strive to set the principles for motivation within our trainees and encourage them to apply the same hunger towards achieving their goals and excelling in their respective fields.

The teaching of software techniques alone is not enough. The mastering of traditional art skills and an awareness of commercial aesthetics also equips trainees with skills integral to success in the industry. These are skills that must be constantly honed in the rapidly progressing international CG industry.

What is the kind of approach of teaching at CG Protege?

Our course fills up an important gap from between the classroom knowledge and the workplace. Through being focused, and guiding students to choose a single area that they want to specialise in, the course has helped many students develop their first professional specialised skill, achieving a standard that meets employers' expectations.

Whether we will open a class for each specialisation will depend on the projected market response and demand for graduates. With feedback from our network of CG companies, we match market projections of employers' demands with our training program. Our focus is to ensure that the talents are able to find work in the CG industry.

Secondly, the course strives to instill an artistic sense required by the industry and try to sharpen and improve that art sense. Other academic courses prepare the individual by teaching techniques alone, but very few courses also help to impart the aesthetic sense, exposing the students to what is aesthetically pleasing, and equips the individual with the necessary directions to continue to strive for aesthetic excellence on his own, after the course.

Thirdly, it teaches the students to understand the problem solving process. The trainers will explain the rationale behind guidelines and principles. This equips the students with the knowledge and skills to tackle future problems in a logical and systematic manner, while not compromising on aesthetic requirements.

Lastly and very importantly, all mentors / instructors for the program are working professionals in the CG industry who have between 2 to 7 years production experience each. Many of them are head of departments or lead artists. As they are working on international productions every day, they keep the students up to date with the latest techniques used in the industry. Besides the mentors and instructors, our course advisors are Singaporeans currently working in the US. Two are from Blizzard and one from Bluesky Studios. So that the students are keeping track of the industry needs both locally and internationally. As they have worked their way up from Singapore to US, they can better associate themselves with the challenges the students are facing.

Could you tell us about the different courses you offer?

All our programs are accredited by the Workforce Development Agency of Singapore (WDA) and the trainees are awarded Workforce Skills Qualification Certifications upon graduation.

There are 4 main group of courses we are running.

A) SHORT FOUNDATION COURSES

These are the programmes that prepare candidates with a foundation to enter into the advance certification level.

B) UPGRADING COURSES

We have upgrading classes / Masterclasses that enhance and update the skills of 3d artists who are already working in the industry.
And these courses are taught by head of departments from various computer games, animation and visual effects companies.

C) ADVANCE CERTIFICATION

Upon graduation, every trainee will be awarded a WSQ Advance Certificate in Animation. There are 5 areas of specialisation for the program - in Character Animation, 3D Modelling & Texturing, 3D Modelling & Rigging, Lighting & Texturing, and Digital Visual Effects.

The focus of the program is to prepare the trainees with a professional specialised skill to enter the industry.
It helps trainees develop their first professional demo reel, achieving a standard that meets employers' expectations.

D) CG PROTEGE DIPLOMA/APPRENTICE PROGRAM

The CG Protege Diploma/Apprentice program is designed to help skilled but less experienced artists address potential employers' concerns so as to obtain full employment and gain valuable working experience on international projects.

EMPLOYER CONCERN #1:

If you lack working experience, some companies are concerned that you will slow down their production if they were to put you on the front-line.

The CG Protege Diploma / Apprentice program will provide you with a training stipend of $1000 a month for a period of 12 months. This support comes from WDA. On our part, we will also encourage our partnering companies to give you another $700 allowance once you begin On-The-Job Training. (We are selective towards companies we work with as we are concerned about our students' wellbeing and will ensure the apprenticeship has value towards their career.)
Out of the full entry starting salary of $1700, the company is only paying you $700. Hence hiring an apprentice through our program reduces the company's risk of hiring a less experienced employee. As $1700 is an apprentice's pay, and not an intern's pay, you will need to have basic specialised production skills and ability in order for the company to put you in the frontline as an apprentice.

EMPLOYER CONCERN #2:

Some companies are reluctant to take in a fresh artist as they do not have the time and resources to look after "someone with zero experience".

Our program addresses this concern by continued upgrading of the apprentice through night-classes at CG Protege during the apprenticeship period. Our trainers work with the employers to create structured training to match their specific needs. The companies we are partnering with, including Double Negative, Ubisoft, One Animation etc. have responded positively to our tailored training plans. We are also talking to 2 major overseas companies to send our apprentices overseas for training.

Hence the CG Protege Diploma / Apprentice program reduces the financial risk of a company taking in a fresh candidate and in return, you will be employed and paid full entry level salary during this economic downturn, gaining valuable experience. With good on-the-job performance after a year, the companies are also most likely to extend your employment. With this effort, we hope that we can raise the standard of Singapore's pool of talents as well as help them pull through this tough time. When the economy picks up, we will then have a stronger and more ready pool of talents for new challenges ahead.

HOW MANY STUDENTS ARE STUDYING AT CG PROTEGE AND HOW MANY HAVE PASSED OUT TILL DATE?

We have trained close to 200 artists since the last quarter of 2006. The program has been well received and we've expanded programs and training facilities. The objective is to create a strong pool of production-ready talent to be deployed in the growing computer graphics (CG) industry. The programs are supported by both the Media Development Authority of Singapore (MDA) and the Workforce Development Agency of Singapore (WDA).

HOW IS THE COMPLETE ADMISSION PROCEDURE FOR THE STUDENT LIKE? 

All potential trainees will attend an industry and career talk, followed by a selection interview before they can be admitted into the programs. We need to be sure that they have put in effort in self-training or learning about the CG industry. Their prior training need not be in 3D. We can accept trainees based on their art skills. The most important criteria is that we need to see that they have the passion and determination to work hard to reach their dream.

HOW IS CG PROTEGE AS A TRAINING CENTRE DIFFERENT FROM OTHER INSTITUTIONS?

CG Protege is a quality provider of WSQ accredited training programmes recognised by the Workforce Development Agency of Singapore. Training is administered by Tiny Island Productions (an Animation Production Studio) and a team of industry veterans and trainers who have a successful track record in grooming and preparing artists to join the pool of production-ready talents. Students can gain assistance from the full range of production expertise from Tiny Island Productions which is located just next to CG Protege.

The various head of departments from Tiny Island Productions as well as experienced leading artists from other international studios provide the training. And many passionate artists from Tiny Island Productions mentor the students. As many of the mentors have gone through the same route as the students, they understand the students' problems and needs. Together, both companies form an incubator for nurturing talents. This has been an very effective model as our past graduates have found positions working on television and film projects for both local and international animation and visual effects studios, like Big Communications, Lights & Shadows, Lucasfilm Animation Singapore, Mikoishi Studios, Real U Singapore, Sparky Animation, ST Electronics (Digital Media), Double Negative Visual Effects, Weta Productions etc

WHAT IS THE FEE STRUCTURE AND DURATION OF THE COURSES LIKE?

They two major programs we offer - the WSQ Advance Certificate in Animation and WSQ Diploma/Apprentice program in Animation costs only S$800 and S$1500 after government subsidies. The updated information for all other programs can be found on our websitewww.cgprotege.com

WHAT KIND OF INTERNATIONAL GUESTS AND INDUSTRIAL PROFESSIONALS HAVE BEEN INVITED TO CG PROTEGE?

Recently we have worked with one of the best animation school in the world - Gobelins Paris on a Character Animation Master Class in Singapore. At the training, we had Jean-Claude Tran (2D and 3D Animator, formerly at Walt Disney Feature Animation in Paris, France and in Florida, USA, and currently at Pixar Animation Studios), Michelle Meeker (3D Animator, Animation Mentor instructor, formerly Weta Digital; PDI/Dreamworks; Pixar Animation Studios) and Robert Bennett from GOBELINS Paris (he has worked around Europe and in the USA presenting a course in " Corporeal Acting " for different animation schools and studios, including Walt Disney Feature Film France, Warner Brothers Feature Film USA and A-Studio in Copenhagen. He has also given classes for Richard Williams' Workshop.)

We also launched a Hans Bacher Master Class Design and Art Workshop for Animation Production. Hans Bacher has been working in the animation film business for the last 30 years. First in Germany in his own studio, later on major disney movies like who framed roger rabbit, beauty and the beast, lion king, aladdin, hercules, fantasia 2000 and mulan, as well as spielberg's balto. He has won several awards for his design work, amongst them the annie-award for mulan.

On top of that, we do have regular industry speakers from companies like Lucasfilm, Ubisoft, Double Negative, RealU etc to share their experience and information on the kind of job requirements for each role in the company.

ARE YOU AFFILIATED TO ANY STUDIOS WHERE YOUR STUDENTS WOULD BE EMPLOYED AFTER TRAINING FROM CG PROTEGE?

We work closely with the graduates to help them to locate jobs upon graduation. However the demand for the CG industry here fluctuates from time to time. Hiring peak periods normally begin at the initial stage of a project (Feature Film, TV Series, Games). During hiring slumps, we work with Tiny Island Productions to employ those who are unable to locate jobs to sustain them during the downturn. So that the students can continue to apply what they learn in school and gained working experience.

WHAT ARE THE LATEST DEVELOPMENTS AT CG PROTEGE?

We are in the process of putting together an advance diploma program taught by a pioneering artist at Disney. So far the feedback from supporting agencies have been very positive. We are definitely very excited about this opportunity.

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