Malaysia’s 3D animation industry: A sleeping giant waiting to thrive?

KUALA LUMPUR, Nov 3 — While 2D animation holds a special place in the hearts of its dedicated fans, 3D animation has taken the world by storm, dazzling audiences with its breathtaking visuals and immersive storytelling.

Just look at films like Zootopia (2016), Kung Fu Panda, (2008) and nearly every creation from Pixar.

But hey, that’s in the US.

What about here in Malaysia? The 3D animation scene is thriving and expanding every day: just ask the industry experts who spoke to Malay Mail.

Hasnan Hasim, 46, CEO and Co-Founder of Tunnelbiz Studio recounted that animation began to be introduced in Malaysia, around 1950s and 1960s with the arrival of Disney films.

Although Malaysian-made animations such as Keluang Man (1998), Anak-Anak Sidek (1999) and Kampung boy, (1999) are popular, they were 2D.

A breakthrough in 3D animation came only in 2007 with the release of Upin & Ipin, which gained immense popularity.

The show struck a chord with Malaysians from the outset showcasing their culture through elements like traditional foods and kampung (village) life.

After this emergence, many shows such as Boboiboy (2011), Ejen Ali (2016), and Mechamato (2021) followed suit.

Support comes through the Malaysia Digital Economy Corporation (MDEC), which provides essential infrastructure and promotional efforts.

MDEC has offered animation render server facilities to assist studios and organises events like the Malaysian Digital Content Festival (MYDCF) with government funding.

For Tunnelbiz Studio, a newcomer in the industry, these events have significantly boosted visibility.

“They’ve been invaluable in promoting our animated series,” said Hasnan.

Hasnan highlighted a significant challenge facing animation companies: rising costs.

Local TV stations have started cutting back on new animations, primarily due to competition from online streaming platforms.

This shift has limited opportunities for local studios to secure valuable TV slots.

For professionals in the field, jobs being primarily concentrated in just a few local studios has made job opportunities scarce, leading some animation graduates to seek employment in other industries.

Additionally, advancements in AI could reshape traditional animation production methods.

Speaking to the animation director at Les Copaque, Ahmad Rasyidi, 37, he noted that selling a new series not targeted at children can be particularly difficult in today’s market.

But have Malaysian animation programmes been globally accepted?

Yes, Ahmad shared that Malaysian animation is increasingly being accepted and enjoyed by a global audience.

He noted that Upin & Ipin in particular has made a significant impact in the international market.

Attending international festivals in the US and Europe to promote their work has shown just how well their Malaysian animations are received abroad.

Ahmad said that collaborating with other brands helps promote the series to reach a wider audience.

He cited the Tsuburaya collaboration, where Ultraman appeared as a guest in the Upin & Ipin series.

“Everybody knows Ultraman, when they see it debut in the Upin & Ipin series, people are likely to explore the whole franchise,” he said.

“It’s like reaching people through something that is already known.”

While Ahmad discusses collaborations with Tsuburaya, Usamah Zaid, 40, CEO of WAU Animation, highlighted the potential for crossovers with Malaysian IPs like Upin & Ipin, Boboiboy, and Ejen Ali.

He noted that a strong setting can unite these characters, citing Ready Player One (2018) and Wreck-It Ralph (2018) as examples.

Usamah stressed that success depends on creators finding common ground and collaborating effectively.

At Tunnelbiz Studio, 3D animations are created using Blender, a free, open-source software supported by a community that develops helpful plugins.

At Les Copaque, while Blender is used, their primary tool has always been the software called AutoDesk Maya.

Other software in their toolkit includes Adobe Audition for sound design, Photoshop for drawings, and ZBrush.

“It’s not just one simple software; there are many that we use,” Ahmad noted.

Regarding the production timeline, he clarified that a seven-minute episode of Upin & Ipin is actually a compilation of three episodes that tell one complete story.

“Producing that seven minutes alone can take about a month”.

According to Ahmad, “You need to have the passion to create and tell stories; that is the most important thing.”

He believes that genuine interest in the craft allows individuals to appreciate the finer details and refine their skills over time.

To gain knowledge in the animation field, he highlights institutions like One Academy and Limkokwing University, which offer animation courses.

There are also short courses focused on specific software, providing the foundational skills necessary for aspiring animators.

However, he emphasises that simply completing these courses isn’t enough to succeed.

“Once you enter the industry, there’s so much more to learn,” he explains.

Hasnan notes that the Malaysian animation industry is well-established, offering opportunities for local and international projects.

Success requires world-class work that meets global standards.

Ahmad, on the other hand, emphasises that with focus and determination, local animation can succeed.

He cites Upin & Ipin: Keris Siamang Tunggal (2019), submitted for the Oscars, as an example.

Although it did not get nominated, “If we can get that far, going further is certainly possible,” said Ahmad.