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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