It is well known that the technological competition and the difficulty of getting into the international exhibition market are the main difficulties that affect the production of animation movies and series in low income economy countries like Brazil. And it is hard to believe that this situation can be reverted by repeating the same production models developed by the Hollywood Cinema majors. Animation producers in these countries must seek truly viable and innovative alternatives that do not compromise the technical quality of the projects, the creativity of the artists involved on the production and its profitability.

Through an evaluation of movies and animation series ongoing in Brazil, it’s possible to assert that the studios in the country miss a solid industrial philosophy of animation production and an applied professionalism, which is already current in other international markets. The lack of professional training in the market is also an obstacle for all kinds of production processes, with major impact on bigger scale productions like Cinema.

This brief paper aims to study collaborative animation models — production models whereupon a bunch of individuals sum forces over a problem solution or by achieving a common goal — by studying two recent successful cases in which collaborative production methodologies were applied: the movies Big Buck Bunny and Live Music. Based on different strategies, both movies exemplify well the collaborative economy concept applied to the animation industry. These case studies show that it is possible to dare in such competitive market without losing the quality and profitability of the animated pieces, being even capable to conclude these productions in an equal or (eventually) smaller time than similar standard productions. The benefits brought by these models are tangible, enabling more dynamics, creative and faster productions which, in some cases, have technical, aesthetical and narrative qualities comparable to established studios’ features, such as Pixar and DreamWorks. All of this by just the use of the free motivated collectivity power, guided by a clear goal.

The appliance of the collaborative economy concept in a developing country’s cultural industry, such as Brazil’s, would enable a reorganization of the elements that compose it; the solution of the lack of local professional training problems (after all, the motion picture now should be global) and the national industry equivalence to international established studios. It is an initiative that could move Brazil’s economy, generating new professionals to the emerging collaborative market, the end of the Brazilian Cinema’s dependence of public funding, the technical exchange between artists and professionals all over the world and the quick inclusion of new and young talented professionals.

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Authors

Name: Rafael Siqueira Cruz
URL: http://www.tecnologia-e-cinema.com
Affiliation: Universidade Federal Fluminense (UFF). Rio de Janeiro, Brasil.
Country: Brazil
Bio statement: Cinema undergraduate at Universidade Federal Fluminense (UFF) on 2010.

Name: Daniel Moreira de Sousa Pinna
URL: http://quadronegroanimado.blogspot.com
Affiliation: Universidade Federal Fluminense (UFF). Rio de Janeiro, Brasil.
Country: Brazil
Bio statement: MSc. in Design, Designer and cartoon animator. Professor of the Cinema course at Universidade Federal Fluminense (UFF).

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