- 4 hours ago
Join us LIVE on Beyond the Headlines for an insightful conversation with Lawrence Po Panganiban of the Cebu Creative Entertainment Council.
Discover how Cebu’s creative and entertainment industry continues to evolve, support local talent, and contribute to culture, tourism, and economic growth.
Topic: Cebu’s Creative Industry Growth
Discover how Cebu’s creative and entertainment industry continues to evolve, support local talent, and contribute to culture, tourism, and economic growth.
Topic: Cebu’s Creative Industry Growth
Category
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NewsTranscript
00:35Good afternoon. Welcome to Beyond the Headlines. I'm DJ Moises.
00:39Today, we enter a world powered not only by technology, but by imagination, storytelling, and creativity.
00:47And here in Cebu, many believe we are only beginning to discover our potential in this space.
00:52Joining us today is the president of Cebu Creative Entertainment Council, or CCEC, Lawrence Panganiban.
01:01So, hello, Lawrence. Welcome to Beyond the Headlines.
01:03Pleasure to be here, Darwin.
01:05And maybe you'd like to greet your followers.
01:07Hello, Cebu. Morning, or rather good noon.
01:12Yes. So, Cebu, for people who are not very familiar just yet about the creative and entertainment industry, how big
01:21is it right now?
01:22And what's its contribution to the economy and the culture of the Philippines?
01:27It's massive. I can tell you that. Economically, it's huge. Globally, if we were to combine the entertainment industry amongst
01:37every sector, we're talking about movies, animation, games, music, it would reach the trillions of US dollars globally.
01:44For the Philippines, I know that our creative economy is huge. I recall it's reaching several hundred million dollars, I
01:58recall.
02:00I forgot the exact number, but it's massive. So, economically, it's a very big driver in certain economies, like in
02:07Japan.
02:07It's a massive economic driver for their country. Same with America, with Hollywood and etc.
02:14So, it is huge. It is big. It can really contribute to the economy of a nation.
02:24I believe we have some numbers on the live right now showing the significance of it, especially in anime, which
02:35is a $25 billion industry.
02:37So, that's on the economic side. On the cultural side, that is probably its true value and its largest value.
02:51Entertainment moves and influences the culture of the world. Its soft power.
02:59It influences our buying habits, our food preferences, our worldviews, and our moral beliefs, a lot of times.
03:14Because these shows have messages, have lessons.
03:18Right now, to be specific, right now, what resonates with the Gen Zs and etc.
03:25Gen Z and below, it's anime, Japanese anime.
03:29And so, what not, they're into the Japanese aesthetic, the philosophies, the storylines and such.
03:34And if we want other examples, why else do you think Korean barbecue is so popular Korean food?
03:43It's because of the oppas and the K-dramas and K-pop that everybody watches.
03:51It has that kind of power and influence.
03:54And it can also move the world in terms of innovation and etc.
03:58Many car designers in Japan were inspired by giant robot anime similar to Gundam and Voltus 5.
04:07And many things that were thought as science fiction and impossible were inspired.
04:14The inventors of those things throughout history, a lot of them, in fact, took in their inspiration from sci-fi
04:22films.
04:25So, entertainment is not just simply entertainment.
04:28It is one of the things that moves the industry.
04:32In fact, entertainment has even, how you call it, inspired revolutions, changes for society.
04:42Because of the strong messages they tell.
04:44So, given the size of the global entertainment economy is, and also the potential that there is for Cebu and
04:56Devisayas,
04:57what are your thoughts also on how we can position ourselves so that we would be able to be one
05:04of the stronger players eventually in this huge, powerful space?
05:11Well, there's definitely one massive advantage Cebu has that we could use to help us towards that goal.
05:18If we could show the map, that map with Cebu as yellow, with the arrows pointing to it.
05:27So, this is what we have that can help position Cebu.
05:33Geographically, we are strategically located.
05:37We can access the entirety of Visayas, Mindanao.
05:41That is interesting, not only for our creative studios here to access talent, but also foreign partners and studios.
05:52If, let's say, for example, a Japanese studio or a German studio want to enter Cebu,
05:59this could not, this will not only give them access to the island, but also the surrounding ones and Northern
06:07Mindanao.
06:09So, we have access to such a rich, diverse talent pool.
06:16It is young, very open to learning, and very creative.
06:23We still have a lot to improve on because our creatives in general, there are many stellar exceptions to what
06:33I'm about to say.
06:34There are several experts, people who work internationally in the island.
06:38But in general, in terms of the larger scale numbers, most of our guys are not quite up there yet
06:45in terms of skill level,
06:47knowing the technical requirements for the international industry.
06:51So, they still need to be trained up and up-skilled.
06:54We are also badly disconnected from the international pipeline, unlike Manila, who has been part of the international pipeline for
07:02animation and games ever since the 60s.
07:06So, we still have a lot of catching up to do, but I believe our young population, our openness to
07:11learn, our hunger and passion for the industry,
07:15combined with our strategic location, can give us the tools and advantages needed to pursue the development of this industry
07:23here.
07:23So, at least from a layperson like me, my impression is Japan and the United States are both giants in
07:35the animation market.
07:38But you've also mentioned that for Gen Z and below, it's already trending towards the Japanese anime.
07:47Why is that so?
07:48It's a factor. Rather, it's a combination of multiple factors.
07:55Number one, access. It's fairly easier to access Japanese animation, and that's been the case for the longest time.
08:04Why is that so, though?
08:07Glad you've asked that.
08:09There's a slide there that has the logos of some local TV channels like ABS-CBN and such.
08:15Maybe we could show that.
08:17It's in the creative PowerPoint, I think.
08:20I remember.
08:21The interview chat.
08:22I read the interview slides.
08:26Anyway, let's continue.
08:28Anime has been showcased in free television since…
08:32Got one.
08:33Well, these are examples of companies that have worked with the Philippines.
08:39So, starting in the 60s, we've had work from Hanna-Barbera.
08:44So, that's the Flintstones, the Jetsons, Yogi Bear.
08:48Of course, we all know Disney, Warner Brothers.
08:51They've been doing subcontracting Filipinos for the longest time.
08:55But that is unknown to many.
08:57That's the interesting thing.
08:59It is unknown to many.
09:00And the thing is, a friend of mine from the international industry told me, if you remove the Filipinos from
09:08the entertainment industry, the industry collapses.
09:11That's how pivotal our role is.
09:14And by the way, these are Filipinos in the Philippines or Filipinos in the U.S. at that time?
09:19Both.
09:19Okay, continue.
09:20In fact, a lot of Hollywood movies do some of their subcontracting work here.
09:25Of course, behind the scenes.
09:27In fact, there was one studio that does it in IT Park, actually.
09:30I just forgot the name.
09:32But to your point about anime, there's that other slide, much later, that has the logos of ABS-CBN.
09:39They will look for it, but you can continue.
09:42It's been in access through free television since the 80s and the 90s.
09:48So, like, Voltus 5, famously.
09:50And then Dragon Ball, Pokemon, Digimon.
09:55I believe we have the slide here.
09:57So, these are the channels that showcase anime.
10:00So, I think many of our millennial viewers would be very familiar with these channels.
10:05GMA, Animax, AXN.
10:08Animax and AXN being owned by Sony.
10:10So, it's so mainstream and accessible.
10:16Many of these channels, especially ABS and like that, back in the day, did not require cable.
10:23And they would showcase anime regularly.
10:25Of course, our proximity to Japan.
10:27And lately, the quality of the animation and the stories being told resonate with the youth more.
10:33I did recall a post that I saw on social media.
10:37And somebody was narrating about missing the time in which they would hurry from school and hear the familiar thing.
10:51And now I understand why it's gaining more traction this time compared to the American animation.
11:02Now, to dive deeper in terms of production culture also, what do you see are the distinctive advantage or traits
11:13also of Japanese animation as to the more common in my generation, the American animation?
11:20Well, for one, they work faster and they produce more.
11:29On average, you have at least a dozen or more anime shows shown in one season.
11:38And I believe one season is every three months, every four months, if I'm not mistaken.
11:44Versus in America, their production output in terms of number of shows is not as much.
11:49I don't have any hard numbers.
11:52But from what I know, it's not so much in one season, at least when it comes to a single
11:59territory.
12:00If we combine the West, like Europe plus America, maybe it'd be matching Japan, but please note that that 12
12:08to 20 per season, that's just from one country alone.
12:13So that's how fast they produce more.
12:16And also, it's also the subject matter they tell.
12:21It's more diverse as of late.
12:23You have stories in Japanese anime that talk about existential philosophy, what it is to be human, or even just
12:35day-to-day size of life,
12:37or extreme fiction that is over the top and super out there and imaginative, like imagine a giant robot that
12:50can become the size of a universe, for example.
12:53That's Tengen Topa Gurren Lagann, or Pierce Through the Heavens Gurren Lagann, an anime show from the mid-2000s.
13:02So it's so diverse and imaginative, and their output is very large.
13:10So, well, risking myself to get into trouble, but it sounds to me like the Japanese animation is more of
13:19quality, yes, but also quantity, because you said that they're producing more.
13:24So in terms of market size this time, at least if you have an estimate, in terms of market size
13:31as of this time, where is Japanese animation with respect to American animation?
13:38I don't have the exact comparison, to be honest, and I don't think it's proper or respectful for me to
13:51say a hard number without having it.
13:54But I know for a fact that Japanese animation, in terms of production value alone, is now equivalent to $25
14:04billion US dollars.
14:05There's a slide, I think, there that illustrates that in 2023, it was $23 billion US dollars.
14:15Now it's $25 billion US dollars.
14:17So in the past three years, it grew by $2 billion US dollars.
14:22So as to the comparison with Hollywood and like that, I'm not sure.
14:26I know Hollywood is quite large because the number of shows that they make are fewer, but the production budgets
14:34are huge.
14:36So in fairness, like a single movie, there's like a single Disney film can reach over $100 million in production.
14:45So perhaps not as much in terms of volume, but the spend they have is larger per project normally.
14:55So that I think that's the best I can say on that question.
14:58So then let's go back to talent and opportunities for Cebu and the Visayas.
15:04Yes.
15:04If we are then to leverage on the potential of the animation and the creative industry, where do you think
15:15or where would you suggest that we put more focus?
15:23Are we still going to pursue more of the American market or do you think this is the time also
15:33for us to redirect more of our focus on the Japanese animation market?
15:43Speaking from the industry, though, disclaimer, I am biased, I think as an industry and as an industry push, it's
15:53best that we hard target Japan a bit more.
15:55Now, for those who have the capacity, capability and connections to engage the West, by all means, they should.
16:03And it's still a lucrative market to work with.
16:06And if they can enter it, then great.
16:09And we still very much support that in our council and our industry.
16:12And we'll even find ways to help that.
16:15In fact, we're even developing good engagements with Germany right now, specifically in the video game industry.
16:21But I believe in terms of finding the mass, the mass hiring, sort of the volume number of jobs that
16:30can hire more people, albeit not, they won't pay as high as the West.
16:35But in terms of sheer numbers of people needed, I believe Japan might be the key for the growth of
16:42our industry.
16:43And here are the reasons why.
16:46Number one, proximity.
16:52It's only a six-hour flight to Japan, four to six hours from Cebu.
16:55And there are direct flights.
16:57We don't need to stop over.
17:02Second, we're all Asians.
17:05We can empathize and connect with the Japanese a bit closer than the Westerners.
17:09We eat rice.
17:10We have similar family values.
17:14Albeit there are strong differences, but there are some shared values there.
17:20Thirdly, time zone.
17:22There's only a one-hour difference between us and Japan versus the West.
17:29It's possible to work with the West, and I know some beautiful examples of that, and we should still pursue
17:35it.
17:35But the one-hour time zone makes it more easier for most people.
17:44Fourth, the number one dream of most of our illustrators and starting animators in the island, or dare I say,
17:55in the Visayas and Mindanao.
17:58Their number one dream is to work on a Japanese anime.
18:04Fifth, and this is one of the very big advantages of Cebu, is we are well-known in Japan.
18:11Even Japanese people who've never traveled outside of the country know of the island.
18:18They know of our mangoes, of our beaches.
18:20But we can use this name recognition to let them know that there's also creative talent here, that there's an
18:26industry growing here.
18:29We're sort of offering, we're just, we're promoting Cebu in a way as green pasture, an open ground for them
18:35to explore and establish here.
18:38Because in Manila, for example, they're skewed more towards the Western market, which is, you know, amazing.
18:46They've worked with American studios for decades.
18:49But for us in the province, I think this newer market would be better for us.
18:54And also, I think from all the stories I've heard from partners and friends and even people from government, the
19:02Japanese look at things long term.
19:04But the moment you gain their trust, it is lifelong.
19:07And they will help you even amidst crisis.
19:11I think for us to develop the industry, because a true industry does not exist in animation and games in
19:19Cebu yet.
19:20It's small.
19:21It's still at most a cottage industry.
19:23So we need a partner to build this long term.
19:27A partner we can count on long term.
19:29A partner that could go through hardship with us and that we can rely on through thick and thin.
19:37So I think that's why we should pursue Japan aggressively.
19:42So in the context then of pursuing Japan more aggressively, how?
19:49So this is now because I'm convinced of why.
19:52So how can Cebu and Visayas or even Mindanao for that matter would leverage on the opportunities?
20:07So what are the steps that you can suggest that for the ecosystem to grow?
20:13So it's a twofold strategy, and these things have to happen simultaneously.
20:21It cannot be one or the other.
20:23It has to be both at the same time.
20:25Number one, we need to train our guys.
20:27The standards of not only the Japanese, but the entire international animation industry and game industry as well are extremely
20:39high.
20:40They are extremely high.
20:42And right now, in general, with the exception of a few amazing Cebuanos and Visayans and our brothers in Mindanao.
20:56In general, we are not there yet in the quality and the knowledge because simply put, we're not exposed to
21:03it.
21:04A lot of our training offerings need to be updated and also aligned more closely with the international standards.
21:11The other one is business development.
21:15How can we justify the training if there's no jobs?
21:21So we need to also develop the relationships with our potential partners who will give those jobs.
21:27And that will be in the form of marketing, of delegations going abroad to connect with Japan.
21:34Because no serious deal happens to the Japanese unless you meet them in person.
21:40You can only do so much through emails and Zoom calls.
21:44You need to engage them face to face.
21:47Now, it doesn't necessarily mean that the hard-up studio has to do it themselves.
21:52There could be delegations made with representatives that will represent them as a whole.
21:57In fact, there's such an effort already being made right now, which I can present a little later, which our
22:07council is actually organizing with the United Nations, actually, which I'll share in a bit.
22:12But those are the things that we need to do, train our guys to reach the standard and specifically in
22:19animation and games, and then also develop the business opportunities so that way both our local studios can grow so
22:33they can hire and also to attract foreign studios to locate in.
22:37So let's talk about this side, which is on talent development.
22:43So I would classify my question into two.
22:46So first, let's go to the academe.
22:49What are the courses you think, just in case we have viewers who are interested, they should take?
22:57And for the academe also, are these courses already sufficient to enable those who are taking this course
23:05to leverage on the opportunities in the animation industry?
23:11Well, definitely there are different fields you can take.
23:14And not only just animation, not just creative.
23:17Business as well.
23:19In the production pipeline of animation, there are what are called producers.
23:26Producers would be the equivalent of project managers and managers in traditional business.
23:31Like a project manager and a construction site.
23:34They are the ones making sure deadlines are hit.
23:38They're the ones following up with the artists on the specific scenes being produced and coordinating every department.
23:46Because there are multiple departments in this.
23:49It's a business still.
23:50There's marketing.
23:51There's production.
23:52There's finance.
23:54A studio is still a business.
23:57So there are multiple areas we need to, how do you say, multiple, rather multiple talents needed for this industry.
24:09But for courses, of course, the obvious one is animation, game development, the very straightforward ones in name.
24:16And there are some schools that are already offering it.
24:20A special shout out to the University of Cebu.
24:22They were one of the first in the island to establish an animation program.
24:26And there's also animation programs offered by TESDA as well.
24:31But to talk on the academic side, they need to be updated to be more relevant to the industry.
24:42All of our animation training right now is taught in the Western medium.
24:49And the big opportunity that will be more easy for Cebu, in my opinion, or rather the larger scale opportunity
24:57that Cebu can pursue is the Japanese opportunity.
25:03And what is taught in Western animation cannot be applied in Eastern animation.
25:11The philosophy of the drawings and the production pipeline, the terminologies are night and day different.
25:20What would be normal for Western animation would be alien for the Japanese and vice versa.
25:26So we need to be able to train in the Japanese way as well, which is something that no official
25:34university or government-led training center in the country does yet.
25:41Not a single one, but that's our opportunity.
25:44And I'm actually happy to say that our council has already been talking with various large schools to consider this.
25:52We've spoken with the University of San Carlos, we've spoken with UP Diliman and UP Cebu, and also TESDA, that
26:01we need to create a program for Japanese animation, or rather Eastern style animation, if you want to make it
26:08broader.
26:09So that we could grab hold of this opportunity for our artists.
26:16So that's, I think, what needs to be done in the training side.
26:20Now, you've mentioned also earlier that there's a lot of Filipinos who also dream to be able to have a
26:29job such as this.
26:31Yes.
26:31So now we've covered the space on the academe.
26:35This time, let's talk about everyday Sabuanos who already, whether they have their degrees or they don't have their degrees,
26:43but they want to transition.
26:45What's also the path for them to be able to do that?
26:50Number one, they have to find ways to train and upskill, unless they're already really good.
26:56And where will they do that?
26:58Okay.
26:59Glad you asked that.
27:00We are already developing some programs right now to train animation.
27:08So actually, if you see the slide there that mentions the Sandbox Foundation and Toei.
27:14They will look for it.
27:16So, sorry, guys.
27:18We're doing a lot of things ad hoc today.
27:20Okay, so you continue.
27:22So, the thing is, there have been training programs that have just started to start training in anime.
27:30One, I have to give special credit to Mata Technologies.
27:34Oh, I agree about them.
27:35And also, the Sandbox Foundation, which is also run by the proprietors of Mata Technologies.
27:42They started a training program with our assistants funded by the Asian Development Bank, which I believe.
27:53And one of our training providers is Toei Animation Philippines.
27:58If the audience doesn't know the name, they are the studio behind One Piece, Dragon Ball, Sailor Moon, and Digimon.
28:08They are the only office of Toei Animation that is in Southeast Asia.
28:16And that's the one.
28:18Thank you very much.
28:19So, they just started their training May 11th, May 11th, just last about two weeks ago, if I'm not mistaken.
28:27Sorry, last week, rather.
28:29So, this is the first time that Toei Animation Philippines is training in Cebu.
28:36In history, they've only done their trainings in-house within their studio.
28:41This is the first time doing this kind of training outside part-to-side studios, for Cebuanos.
28:48It's a big first step.
28:50And just a little trivia for everybody.
28:53Toei Animation Philippines has been there since the 80s, 1986 to be specific.
28:57And if you're familiar with Dragon Ball Z, they were responsible for animating some of the most iconic scenes in
29:06Dragon Ball.
29:07I thought the ball.
29:11I know some of the animators in Toei Philippines actually did scenes in Dragon Ball Z, especially the Goku and
29:23Cell fight.
29:24So, Dragon Ball fans, you know what I'm talking about.
29:27So, this is a huge first start.
29:30This is going to be one of the first steps.
29:32And the cool thing about this training, it's free.
29:35It's absolutely free because it's funded by ADB.
29:38And then they will get in touch with Mata.
29:42No, they've started already.
29:44Okay.
29:44But for those who are watching right now and they want to…
29:48Ah, yes.
29:49Please check the Sandbox Foundation Facebook page.
29:55Okay.
29:56The Sandbox Foundation.
29:58Amazing group.
29:59There are registration forms there on how to join the training.
30:04And note that this is not the only one will come.
30:08This is just the first of many to come.
30:10Because we're also currently discussing right now to develop other similar training programs together with TESDA and the universities.
30:19In fact, our organization, the Cebu Creative Entertainment Council, has officially partnered with TESDA to develop up-to-date training
30:29programs for the entertainment industry.
30:32We just signed an MOU with them last month.
30:36And Sunstar actually covered the signing.
30:40It was posted in the page.
30:42Now, what if, for example, I'm just making this up.
30:46A person is a physics graduate.
30:49Yes.
30:49Meaning no background at all in animation or the creative industry, but has the potential and the interest.
30:58If he or she participates in a course such as this one, will he or she be able to eventually
31:05qualify for a job in this industry?
31:10There's a possibility.
31:11And how long will it take?
31:13At least they will know what they're facing should they decide to transition.
31:18Well, I'll tell you this.
31:20Some of the most talented animators I've heard came from surprising origins.
31:27TOWE Animation Philippines, for example.
31:29You know who was their partner to establish the Philippine office?
31:33The one who partnered with their Japanese home office.
31:35I know it happened during the ETSA revolution, but maybe the character is not related to that.
31:39It's kidding.
31:40Most likely not.
31:41Okay, continue.
31:45But what happened was definitely revolutionary.
31:54EEI was their partner.
31:56A construction company.
31:59Ah, wow.
32:00Okay.
32:00The biggest construction company in the country, if I'm not mistaken.
32:04EEI partnered with TOWE Animation Japan to establish TOWE Philippines in the 80s.
32:10And you know who was their first batch of animators that they trained for the studio, for the Philippine studio?
32:19They were welders.
32:22Oh, okay.
32:24Continue.
32:25And you know what they did?
32:26They shipped these welders from Manila all the way to Japan.
32:31And they were trained.
32:33They went through a full-on boot camp in Japan to train on how to animate.
32:40And after that, they became legendary animators animating since the 90s.
32:47Or rather, even the late 80s.
32:52Imagine that.
32:54A welder doing animation for multi-billion-dollar franchises.
33:01The Dragon Ball, for example, is a multi-billion-dollar franchise.
33:06And they helped in making the work for that.
33:09And that's encouraging for those who are watching.
33:12And they may have their day jobs right now.
33:16And they're encouraged about the potential.
33:19And possibly fulfilling their dream to work in a Japanese animation firm.
33:25Then it's not too late.
33:26Because this is an interesting and encouraging case.
33:30That would support that even if they're not trained in school.
33:37They can still be trained and upskill themselves.
33:41And be able to make the most of the opportunity.
33:44You've mentioned Tesla also.
33:45What's available in Tesla that they can also take for them to upskill themselves?
33:52They have an animation program.
33:54So while we develop the newer one that will be updated and also linked with the Japanese standard.
34:02They can already initially take what's already offered.
34:05It is pretty good from what I hear.
34:08And it will be a great first start.
34:10Because the only thing you need really to enter animation, just to share and to add from previously.
34:18You just need to know how to draw.
34:22And also have a love for it.
34:25I'll tell you this.
34:27No one enters animation and stays in it unless they love it.
34:31It is a passion-driven business.
34:34In fact, it's not even a side requirement.
34:37It is absolutely necessary.
34:40Not to say that it is a mandated requirement when you submit your resume.
34:44But it's an intrinsic need to have a love and passion for the craft.
34:51Otherwise, where will you draw?
34:54What will you draw from in order to have the grit and the fortitude in order to go through the
35:03grueling, sleepless nights when you try to hit a deadline?
35:06Right?
35:07So you need to love it in order to survive in it.
35:11And I can tell you right now, every single person who's an animator that I've known, people from Manila, people
35:18from America, people from Japan, they do this business not only as a job, but because they sincerely love it.
35:27So that's an encouraging piece.
35:30And for the viewers also, among my vested interest, when Lawrence and I met a few weeks ago and I
35:37wanted him to also guest in the show, it's because of the opportunities that we also need to look for.
35:44As AI is also introducing possibilities on a positive side, possibilities in the ITBPM space.
35:56And not everyone in the ITBPM space will also have that opportunity to be 100% stay in the industry.
36:04So it's also good for opportunities such as this one and possibilities such as this one that they can explore.
36:12And by your story also with the welders, then it can be done.
36:19It's possible.
36:19And what's needed is just the passion and, of course, the willingness to draw and the talent also to draw.
36:27And then they can take it from there.
36:29Now let's talk about artificial intelligence.
36:31How vulnerable also is the animation industry when it comes to artificial intelligence?
36:38It depends on the sector.
36:40When it comes to simple animation and some degree of animation for advertisement and also simple animation for education, the
36:48lower level bracket, it's already taken over by AI.
36:51So the studios that targeted this bracket, the lower end bracket, have already been affected.
36:58I even know some studios in Cebu that have been heavily affected by that.
37:03The regular clients from small schools and groups in America that would do simple animations for educational purposes and all
37:11that have shifted to AI, especially given that the West is very AI forward.
37:18So they've lost jobs from here, but there's a flip side to it.
37:26In the East, it's a mixed bag.
37:28In China, they're very AI forward and they're integrating it heavily.
37:33At the same time, there are lots of studios still doing it traditionally in China.
37:36But then Japan is an interesting story also.
37:42AI is being heavily used in terms of workflow optimization.
37:48And this was information that was shared with us in a United Nations webinar by an industry researcher.
37:57His job is to research the industry and the trends.
38:01And he told us this information.
38:05Anime-ation production in Japan, AI is at the very least heavily frowned upon.
38:15And it seems to be semi-banned from production.
38:20It's used in workflow optimization, like communications, maybe some cleanup work and some of the menial tasks.
38:29But the heavy creative work, the key animation is still drawn by hand because the appeal of Japanese anime is
38:36that it's hand-drawn.
38:38The other kicker also is that the consumer base of anime, they go to anime because of its hand-drawn
38:44nature.
38:45They can tell at a glance, at a quick glance, this is AI generated and they hate it.
38:54They hate it in anime.
38:56So there was one example.
38:58There was one studio called Studio Wit, one of the most respected and loved studios in the modern anime industry
39:05right now.
39:06They were responsible for titles like Spy Family.
39:11They're also doing a remake of One Piece that will premiere next year.
39:16They had an anime title called Ascendance of the Bookworm.
39:20And there was one scene, just one scene, that the fans noticed there was an AI-generated background, I think.
39:28And it caused a huge uproar.
39:30It's even the background.
39:31Yes, and it caused a huge uproar online to the point where it caused the company to issue a public
39:39apology.
39:40A public apology.
39:41And you know to what level the Japanese take when they do public apologies.
39:49It's very big, severe.
39:51It's like they really go out of their ways to prostrate themselves to ask for forgiveness.
39:55That's the level of humility the Japanese has to shame themselves for forgiveness on that.
40:00So they publicly apologized for it and they stated that they will correct it and replace it as a hand
40:07-drawn asset instead.
40:10So while the world moves forward with AI and those who can adapt to it and those who wish to
40:17work in that space pursue those wonderful opportunities in AI,
40:22it's, I think, comforting to know that there are areas where our hand-drawn artisans can still flourish.
40:29And that one huge example being anime in Japan.
40:35So I think that's also, this is another reason why the Japanese animation market is also a good potential for
40:46the Philippines and for Cebu in particular.
40:49Before we let you go, I knew that you have samples of your work and maybe Eric and Mark.
40:59You can showcase them and then I'll ask you to make your own invitation also for the upcoming mission.
41:05But before that, I just wanted them to see your work, a sample of your work also.
41:11If we could show the SV trailer, please.
41:15So we are actually developing an original Japanese anime.
41:20This has been a project that I can trace the roots of this project all the way back to 2008
41:28when I was in high school.
41:29But the official start of this project as an animation IP started in 2018.
41:37It is the love story of a husband and wife who lost their son and separated because of the tragedy.
41:44And they embark on an adventure in a tropical island nation inspired by Philippine folklore and mythology, specifically ancient Cebu,
41:55actually.
41:55So this project is a fantasy adventure with a grieving couple, grieving spouses, grieving parents at the centerpiece, facing monsters
42:09and gods from our folklore and legends portrayed in an over-the-top fantasy anime form.
42:17We chose to take this creative direction with a project to uplift our myths to something big, larger than life.
42:25Sort of like how the people of Norway have Thor.
42:30Thor has become a superhero in Marvel.
42:33The samurai and the ancient gods of Japan have become video game icons like in Okami, a Capcom video game.
42:44So we want to take a similar approach with our local legends.
42:48In fact, the two areas that will be featured in our story are called Zubu and Matam, which are obviously
42:55based on the ancient names of Cebu and Maktan.
42:58So imagine our place in a fantasy world, turned into a fantasy world where our creatures and monsters and our
43:08gods will be made over the top like Goku and the people in One Piece, you know.
43:14And I'm happy to announce that we are actually partnered with Toei Animation Philippines for this project.
43:21I think I have a slide there that mentioned it.
43:24So we are working with Toei Philippines on this project and we're cooking up some new animation.
43:30What we have here for the benefit of the audience is test footage.
43:34It's old work.
43:35This is really old work that we had in the development stage.
43:41New work is coming that is actually being animated by Toei Philippines.
43:47So you're the first to hear it, folks.
43:51But that's all I can mention.
43:53It's still being cooked up right now.
43:55But Toei Animation Philippines is helping us with that.
43:58And before I would like to, I mean, I would allow you to invite the rest who are interested to
44:04join in the mission.
44:06I'd like you to address the, well, the parents.
44:09I hope they still have influence now to their kids and also the kids in general who still look at
44:15animation and the creative industry as a side hustle rather than a career.
44:21So if we could show the Unido slides, please.
44:24So first I'll address the parents.
44:29We, I completely understand that all you want is your family for your children to have stable careers, stable income.
44:41Very just understandable, especially during, given the times we live in now and also the nature of the Philippines.
44:51But please know, parents, that art can be a lucrative career.
44:57And if your child can do a job that they love and earn from it, it is so fulfilling and
45:05they'll be able to do better at the job if they love it.
45:08And this can be lucrative in the industry.
45:12I overheard that the average salary of an animation, of an animator in Japan is about 2 million yen.
45:24So divide that by 2 point something, that's the peso value, so maybe roughly around 800k a year.
45:32That might be low for the Japanese, but I think that number works for us, especially in the province.
45:40So we don't know if that's going to be the rate that they would give us, but it gives indications
45:44that you could earn from it.
45:46I've heard stories of animators in Manila earning as much as 100k a month minimum, because it's based on the
45:55amount of output you give.
45:57So it can be a lucrative career.
45:59Of course, it won't start that way.
46:02The beginning jobs are entry-level rates, but it can build towards that, like any other job, right?
46:09So the dreams of your children can become lucrative careers that will fulfill them at the same time.
46:18So that's on the parents.
46:20On the mission, we have a trade mission this coming July 14 and 15 in Japan, hosted by the United
46:31Nations Industrial Development Organization, ITPO Tokyo.
46:35This is the branch of the UN that develops new industries for the upliftment of third world and developing countries
46:49out of poverty.
46:51So our organization is officially partnered with the UN on this endeavor.
46:59And we have formed a delegation from the Philippines, led by Cebu, to represent our country, to create business opportunities
47:10and business exchange between us and the big companies in the anime and game space of Japan.
47:19This is one of many missions that have been done over the years, and this is going to be a
47:27rare opportunity for us to engage with the Japanese in a deeper manner with the support of the United Nations.
47:33In fact, the information I even shared in today's session was thanks to the help of the UN.
47:39So we have a rare opportunity here to build the connections between us and Japan in a bigger way, greater
47:48than ever before.
47:50So that's an invitation already?
47:52Yes.
47:52So please join.
47:54And those who would be welcome to join the mission are businesses who are interested to explore the animation industry,
48:04game development studios, animation studios.
48:07Anyone who has had an interest in working with Japan is welcome to this mission.
48:18And you don't even need to come from the industry.
48:21Even if you just have an interest to enter it, to diversify your business into it, or even learn how
48:26it works.
48:27We invite you to this mission.
48:30And this is also for, again, my vested interest.
48:32This is also for MSMEs in the ITBPM industry, considering that we have experience in the outsourcing space.
48:42So this is one area that we can also explore and diversify.
48:48Yes, I believe AI has made interesting situations for our ITBPM industry, and certain people are in need of new
48:59opportunities.
49:00So I think perhaps doing work for the anime industry could be a new area that you can consider.
49:08Because if you think about it, working for foreign clients and doing this work, it's outsourced work.
49:13Yeah.
49:14Just in a more artistic manner.
49:16And dare I say, a more fun manner.
49:19And there's a lot of naturally creative Filipinos and Cebuanos around.
49:25Yes.
49:26It is a natural creativity and Cebuano goes hand and hand.
49:33It's synonymous.
49:34So thank you, Lawrence, for your time and for your stories and your encouraging information.
49:41Information of another possibility that Cebu and the Visayas can explore and leverage.
49:47It's an honor and a privilege.
49:49Thank you so much for having me here.
49:52So around the world, creativity is becoming serious business.
49:56Generating jobs, investments, tourism, innovation, and global cultural influence.
50:02And if given the right support, Cebu and the Visayas may very well become major players in the creative economy
50:10of the future.
50:12I'm DJ Moises.
50:13This is Beyond the Headlines.
50:15Have a good afternoon.
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