–CACANi would be a good tool for freelance artists and directors. We are happy if everyone gets something they can use from CACANi. If they are willing to collaborate with us, we will definitely open up and work closer to find the solution that is useful for them. We think we can try to understand more about the system. CACANi is not meant to change the system. The system was what they are all agreed on. There have been a relationship between companies, artist, and studios in Japan. However, the production definitely has certain needs at least for the part of the system. CACANi is not supposed to be a complete production system. –Japanese production system is usually divided into individual jobs, so widening one animator’s job may not be welcomed. We are very happy if animators can now do a lot more things. We hope to build technology that enables artists to create their works faster. But we are not too concerned about formal definitions. The definition of an animator, or the work an animator does, is very much dependent on the project. –We think CACANi is currently the tool to widen the range of “what one animator can do.” Sometimes they are not clear and don’t show what the user really wants, so it always takes time. What we are doing is first getting feedbacks, and digesting them. If we find some way to improve the core significantly, it would be the version 2. You need to teardown the building first, take out the core and build everything back again. We hope to make changes, but there are always issues. –It seems the main structure of CACANi hasn’t changed much. As we get feedback from the users and see more patterns, we will be able to improve it. In normal production, animators still have to draw every single in-between drawing even if the key frames are not so different. CACANi works better when you have a more constant scene, meaning the key frames have more information in common. If the character does a 360-degree turn, CACANi doesn’t directly generate all the in-betweens. –What kind of the animation scene is the most effective to use CACANi?Īt this point, CACANi works better for the smaller motions. So we want CACANi to improve the artists’ working environment and enable them to finish the work faster and better. At the same time, there are so many frames to draw. You still need artists to improve the animation to the level of art. So it will be useful up to a certain level. We hope CACANi will improve artists’ working environment.īut the computer cannot be trained to draw animations like a human. We will continue to work on CACANi and make it an even more effective tool. –You mentioned that CACANi will not take over all jobs of in-betweening, but some people are worried about that.ĬACANi is a tool, like a knife or a different type of pencil. We thought Japanese animators may not like it. Because of the nature of computerized animation, we were concerned that it might look stiff. We were surprised that we got good feedbacks. –We think CACANi brought a huge impact at ACTF. We have seen strong support from United States, Japan and East Asia, South America, as well as European countries such as UK and France. Most of us in the team grew up with Japanese animation, so it was a great chance to showcase for us. We were very fortunate to be invited by Wacom to the Japanese event, ACTF.
–Do you target any specific nation or area?īecause of the size of our nation, Singapore, we always look at overseas. Even if they don’t have any background in animation, they can still make some simple animation. A quick animation is going to be good review before progressing to After Effects. –We think CACANi is useful for other artists such as illustrators and photographers as well.
CACANI ANIMATION PROFESSIONAL
The target audience includes professional animators, freelance artists, hobbyists, and even beginners. Why do they have to drop all the skills suddenly just because the technology is progressing? They shouldn’t have to. The 2-D animators have spent so many years learning about characters and the way of drawing them. This is why we hope to create something very useful for 2-D animators. The 2-D animators are often considered as old-school, and the 3-D animators are considered as artistry, and of course, their pay grades are different. One of the problems is a perception difference. It’s because the native platform of 3-D arts is a computer.
CACANI ANIMATION SOFTWARE
We feel that there are lots of great digital software for 3-D animators but not for 2-D animators. Our main goal is to make something very useful for 2-D animators. –What kind of people are the main target of CACANi? Hong Ze Liew, Business Develop Manager of CACANi