Animation Council of the Philippines and TESDA

4 11 2014

     I asked Grace and Alstaire to write about their knowledge and experiences about the animation training certifications and related skills in the visual arts requirements by TESDA (Technical Education and Skills Development Authority) – a government agency handling all kinds of skills education and training in the country. The essays will be a guide to all current and would be students, animators, game developers, game programmers, investors and animation trainers in the country.

Tesda logo

Overview

     The Animation Council of the Philippines (ACPI) was established in the year 2000 with the help of the Bureau of Export and Promotions (BETP) under the Department of Trade and Industry (DTI). The animation sector has been identified by the government as an emerging and dollar-earning industry that should be supported and promoted. The Philippine animation industry was also included as one of the Information Technology (IT)-enabled services that is under the growing Business Process Outsourcing (BPO) industry. Under the umbrella organization of the IT & Business Process Association of the Philippines (IBPAP) together with other growing BPO sectors like Call Centers, Software Industry, Health Management and Medical Transcription; the government started making plans to push these industries as a forefront to increase the employment in the country in terms of manpower services. 

8x11 size acpi logo

images

dti

ibpap

     As manpower demand for these IT and IT-enabled services increased; the training and school curriculum needs to be updated to meet the demands of the industries. We are now in a new and technology-based era, our education system needs to be overhauled to accommodate these new technologies for the needs of the industry. Fresh graduates should be industry ready and could be hired immediately.

     TESDA is the first government agency in skills education that partnered with ACPI last 2004. TESDA and ACPI industry-based experts worked on the curriculum for the competency skills needed by the animation sector. These are:

           a) Animation National Certificate (NC)II – 516 hours (for Traditional

               Assistant Animators)

           b) 2D Animation NCIII – 840 hours (for Traditional and Digital Animators)

           c) 3D Animation NCIII – 1040 hours (for 3D Animators)

     The training is for about 5 to 8 hours about 5 days a week and can last between 2.5 months to 3.5 months if they train 8 hours a day for 5 days a week for the Animation NCII and 2d Animation NCIII; for 3D Animation NCIII – this could take at least 6 months. The NC could reach to NC V, which is of higher competence and skill. The NC could be required by local and/or foreign employers as a basic requirement looking for qualified applicants, but they will still have their own tests for which the applicants need to pass. There is no need to be a college graduate to take the NC courses; a high school graduate who is at least 18 years old can take the Animation NC courses and if he passes, he can be employed already by companies willing to take him.

     There are many training centers around the country; I (Grace) had visited training centers for about 3 to 5 days each in Alabang, Quezon City, Mandaluyong, Pasig, Greenhills, Las Piñas, Makati, Bacolod, Baguio, Bicol, Butuan, Cabanatuan, Cavite, Cagayan de Oro, Cebu, Davao, Dumaguete, General Santos, Iloilo, Leyte and Zamboanga. There are many other training centers that I have not yet visited. The said training centers should be accredited by TESDA  and its license renewed every 4 to 5 years and should have 70 to 80% of its graduates pass the National Certificate (NC) exams.

Animation NCII training

Animation NCII in Butuan

2D animation NCIII_makati

2D Animation NCIII in Makati

3D Training

3D Animation NCIII in Bacolod

      ACPI also assisted in the curriculum developed for Graphic Artists and Designers called Visual Graphics NCIII – 800 hours. The association further promoted a finished curriculum made by the industry-based comic artists & illustrators called Illustrator NCII. By 2006, all the curriculum developed by TESDA and ACPI were approved by the TESDA board of directors for printing and nationwide distribution for all TESDA Tech-Voc schools. In 2007, the official TESDA scholarship vouchers for accredited TESDA Animation Courses were released. The amount per scholar during that time was Php 10K  for Animation NCII, 2D Animation NCIII, and 3D Animation NCIII.

     Other than the scholarship programs, TESDA also has international partnerships. South Korea is one of the active partners of TESDA in terms of Tech-Voc education. In 2007, the Korea-Philippines IT training center building was finished in Quezon City. The land was donated by the Quezon City government, the building was funded by the Korean government and the training will be under TESDA. The programs in the partnership should be under the IT-enabled services of which animation was included. The first 3 batches of animation scholars were trained under the Phil-Korea IT training center under a TESDA-ACPI Memorandum of Agreement (MOA). To date, the building was turned over and fully operated by the Quezon City government.

Phil-Kor at quezon city

   Phil-Korea IT Training Center Building in Quezon City

     By 2011, a lot of demand for digital animation was requested by ACPI from TESDA. Unfortunately, the scholarship vouchers did not cover the costs of the software and hardware upgrade. The TESDA training centers found it very hard to offer the courses and pay the trainers. A new cost for the animation courses was suggested by ACPI and approved by the new TESDA head – Mr. Joel Villanueva. The new costs are:

          a) Animation NCII (516 hours) – Php 15k per voucher

          b) 2D Animation NCIII (840 hours) – Php 25K per voucher

          c) 3D Animation NCIII (1040 hours) – Php 35K per voucher

     These new scholarship costs were implemented in 2012 up to present. All TESDA schools with registered TESDA Animation courses can avail of these vouchers through their own TESDA districts or through the membership with the ACPI. Memorandum of agreements was signed with ACPI by TESDA for the implementation and monitoring of the progress and employment tracking of the vouchers released to its member companies and schools.

MOA signing with ACPI_2014 vouchers

     MOA signing of  TESDA with ACPI for vouchers – April 2014

    In line with the need for high-end equipment for 2D digital animation and 3D animation courses, TESDA partnered again with Korea for the new building called Philippine-Korea Friendship Center at Bayanihan road, Taguig City. The building was finished in 2012 and it houses 3 major programs: 3D animation, Game Programming, and Mechatronics. All pieces of equipment, software, hardware, and materials were provided by Korea. The first batch of instructors was also sent to Korea for 3 months training in skills and management. TESDA will implement the training programs together with the assistance of some Korean experts to sustain and manage the building and provide highly skilled graduates ready for the industry.

phil kor _taguig

Phil-Korea Friendship Center  Building at Taguig City

Phil-kor_HRD center Taguig 02

Grace at 3D training room_HRD center in Taguig

3D Game Programming Room

Game programming room_HRD center Taguig

Mechatronics room_HRD center_taguig

Mechatronics Room

Grace at animation doorway 3D room_HRD center

Trainers in Korea 02

1st Batch of Filipino Trainers in Korea

Phil trainers in Korea

     During the same year 2012, ACPI assisted TESDA on the development of a new emerging industry – game development. Game Developers Association of the Philippines Inc. (GDAP) was formed around 2008 -2009. The new courses are:

          a) 2D Game Art & Design NCIII

          b) 3D Game Art & Design NCIII

          c) Game Programming NCIII

GDAP logo

     These programs are now in its rollout period to test its viability and acceptability in the sector. It does not have scholarship vouchers yet and is still under discussion with TESDA.

     All TESDA registered courses are mandated to have their graduates undergo the National Assessment (NA) after its training period is consumed. The schools and training centers are required to have at least 70-80% passers per assessment. This is carefully monitored by TESDA. If the schools or training centers cannot meet the passing percentage given for their graduates, their license as a TESDA-accredited school can be revoked.

     To avail of the scholarship program depends on the fund availability from TESDA. A training center if given the scholarship voucher should be used it within the year. If there are no funds released for the scholarship, the students shall automatically pay the tuition fee for the course. All art related, animation, graphics and design TESDA accredited courses has a creative exam for the students as a qualification requirement for the program. To date, only ages 18 to 45 years old are allowed to be part of the training program.

     For further details on TESDA accredited courses, Training Regulations (TR) and Competency-Based Curriculum (CBC) for animation, illustration, Graphics and Visual Design and Game Development, accredited and registered training centers, trainers and assessors, please visit the TESDA website: http://www.tesda.gov.ph

Article by Grace A. Dimaranan: Board Director – Animation Council of the Philippines, TESDA industry expert, Trainer and Assessor for Animation and Graphics/Design, Managing Director – Top Peg Animation Studio Inc.

Understanding the TESDA Programs, Assessments and Certification

TESDA Program Registration

    There are many accredited courses offered by TESDA that can be viewed and downloaded at their website under Programs and Services – Competency Standards Development. In this link, all the training regulations (TR) of all the courses offered by TESDA are listed.

     To avail and teach any of the TESDA courses, a school or training center should first apply for and obtain the necessary documents to be accredited. When all the requirements are satisfied and the facilities are inspected by TESDA, the school or training center will be given the Certificate of Program Registration (COPR). Application process is at the link: http://www.tesda.gov.ph/About/TESDA/26

COPR genesis 1

COPR GENESIS 2

Certificate of Program Registration (COPR)

TESDA Trainer Qualification

    The Trainer of these applying school/training center should already be certified and holder of the National Certificate (NC) of the program they want to teach. The Trainers Methodology Certificate (TMC) – a required 1-month seminar to familiarize with TESDA standards and Methodology and the National TVET Trainers Certificate (NTTC) is required.

NC 3 in 2D Animation

National Certificate (NC)

willie_TMC certificate

Trainers Methodology Certificate (TMC)

willie NTTC _for NCIII

National TVET Trainers Certificate (NTTC)

National Certification

    All TESDA registered programs are mandatory to have their graduates take the National Assessment at the end of the training period to determine their level of skill if they are competent (C) or not yet competent (NYC). Not yet competent means that the student should review, study and apply the competencies in the course he/she is weak at in executing a skill. The accredited assessor will give the necessary feedback to the student to focus on to study. After which, the student will now determine when he/she will be ready to take a reassessment exam again.

     The assessment exam undergoes three processes: demonstration of skills, written exam and an interview. The assessment is conducted only at an accredited TESDA Assessment Center or at the local TESDA districts of each city. There are requirements to bring on each assessment that one can ask the nearest TESDA office.

    There are two types of National Certificate under TESDA. The full qualification certificate or the National Certificate (NC) and the Certificate of Competency (COC) which means that the candidate did not qualify to receive the full NC but has demonstrated skills, knowledge, and competency on certain areas. For example, in the Visual Graphics Design NC III – to be awarded the full NC III of this TESDA course, one must demonstrate the knowledge and skills on the following core competencies: 1) Develop Designs for Print Media. 2) Develop Designs for Electronic Media. 3) Develop Designs for Product Packaging. 4) Design Booth and Product/Window Display.

     If only 1 or 2 or even 3 of the core competencies is demonstrated by the candidate, he/she will not receive the full NC but a Certificate of Competency (COC) on the particular skill the candidate has successfully passed. If the candidate only demonstrated skills and knowledge on “Develop Designs for Media” then the candidate will only receive the COC on that core competency. The candidate then can take an assessment exam for the remaining 3 of the core competencies of the Visual Graphics Design NC III at his/her own pace. When the candidate already has completed the COC of the 4 core competencies, he/she can now bring the 4 COC certificates to the TESDA Office to be converted into the full NC of the Visual Graphics Design NC III.

RUAM_ one COC only of VGD certificate

Certificate of Competency (COC)

COC only of Designs for print media_RUAM

Enlarged from the Above COC Sample

TESDA Programs Connected with the Arts, Design, and Animation with its Core Competencies

A) Illustrator NCII

  1. Apply techniques to produce drawings
  2. Source concept for own work
  3. Develop and articulate concept of own work
  4. Use drawing techniques to represent the object or idea
  5. Prepare, store and maintain finished work

     A person who has achieved this qualification is competent to be a comic artist, book/magazine illustrator or a cartoonist.

B) Visual Graphics Design NC III

  1. Develop designs for print media
  2. Develop designs for electronic media
  3. Develop designs for product packaging
  4. Design booth and product/window display

     A person who has achieved this qualification can be employed in any or more of the following: visual graphic artist, creative/art director, layout artist, graphic designer, web designer, visual graphics multimedia artist, booth and product/window display designer.

C) Animation NC II

  1. Produce cleaned-up and in-between drawings

     A person who has achieved this qualification is competent to be: a clean-up artist, In-between artist/in-betweener, clean-up art checker, in-between checker.

D) 2D Animation NC III

  1. Produce key drawings for animation
  2. Produce cleaned-up and in-between drawings
  3. Create 2D digital animation
  4. Use an authoring tool to create an interactive sequence

     A person who has achieved this qualification is competent to be: a 2D digital animator, library builder, layout artist, multimedia artist, web designer, animation checker, clean-up artist, in-between artist/in-betweener, clean-up art checker, in-between checker.

E) 3D Animation NC III

  1. Produce key drawings for animation
  2. Create 3D digital animation
  3. Use an authoring tool to create an interactive sequence

     A person who has achieved this qualification is competent to be: a 3D animator, animation checker, animation designer, multimedia artist.

F) 2D Game Art Development NC III

  1. Develop and conceptualize art style
  2. Create storyboard and asset list
  3. Prepare art document
  4. Develop final artwork using graphics application
  5. Apply in-game animation

     A person who has achieved this qualification is competent to be: a 2D game artist, 2D game concept artist, 2D game animator.

G) 3D Game Art Development NCIII

  1. Develop and conceptualize art style
  2. Create storyboard and asset list
  3. Prepare art document
  4. Develop 3D model using 3D graphics application
  5. Develop 3D textures using graphics application
  6. Apply rigged in-game animation

     A person who has achieved this qualification is competent to be: a 3D game artist, game concept/visual artist, 2D game animator, modeler, rigger, texture artist.

H) Game Programming NC III

  1. Design game program logic
  2. Apply object-oriented programming language skills
  3. Apply programming skills to in-game application

     A person who has achieved this qualification is competent to be: a game programmer, technical game designer, game tester, tools programmer, gameplay scripter.

I) Photography

  1. Operate a camera and compose a subject
  2. Set up studio lights, equipment, and accessories
  3. Perform post-capture processing
  4. Present finished products

      A person who has achieved this qualification is competent to be a professional photographer.

J) Technical Drafting NC II

  1. Draft architectural layout and details
  2. Prepare computer-aided drawings
  3. Draft structural layout and details
  4. Draft electrical and electronic layout and details
  5. Draft sanitary and plumbing layouts details
  6. Draft mechanical layout designs

      A person who has achieved this qualification is competent to be a draftsman and CAD operator.

K) Mechanical Drafting NC I

  1. Prepare basic engineering drafting
  2. Perform basic engineering detail drafting

     A person who has achieved this qualification is competent to be a mechanical draftsman.

L) Fashion Design NC III

  1. Create garment designs
  2. Calculate and procure garment materials
  3. Supervise garment prototype preparation and mass production
  4. Evaluate finished product
  5. Supervise packaging and dispatching of finished garment
  6. Perform promotional activities for fashion products and/or services

    A person who has achieved this qualification is competent to be a fashion illustrator (apparel), production manager (apparel), fashion stylist (apparel), fashion designer (apparel).

     Details of the above TESDA programs can be accessed and downloaded at the TESDA website under training regulations.

Grace A. Dimaranan is an industry expert consultant for TESDA, CHED and DepEd courses, TR developer, veteran animator and designer, Managing Director of Top Peg Animation & Creative Studio Inc. and School Director at Top Peg Institute for Animation & Design (http://www.toppeganimation.com). For assessment schedules under the TESDA arts/animation design courses, please call 4032419 or 8711590 and email: egsarthou@gmail.com

TESDA Scholarships

    TESDA grants scholarships to qualified candidates or students who want to learn a TESDA program. The training is for FREE but it can only be availed and conducted at a registered TESDA training facility.The training facility should have the right equipment and set up that has passed the TESDA requirements under the specific program Training Regulation (TR), have the necessary document processing and underwent an ocular inspection by TESDA personnel. After all the requirements are filed and checked, TESDA grants the Certificate of Program Registration (COPR).

    There are 4 types of TESDA training: 1) School-Based Programs. 2) Centre Based Programs. 3) Community-Based Programs and 4) Enterprise Based Programs. Further description of these programs can be searched at the TESDA website.

      The IT & Business Process Association of the Philippines (IBPAP), Animation Council of the Philippines (ACPI), Game Development Association of the Philippines (GDAP), Philippine Software Industry Association of the Philippines (PSIA), Call Centre Association of the Philippines (CCAP) and the Healthcare Information Management Outsourcing Association of the Philippines (HIMOAP) are industry organisations that forged a partnership with TESDA which are under the Enterprise Based Programs and School-Based Programs.

     To avail of the Scholarship Program, all registered TESDA schools and training centers should submit a Qualifying Map (QM) signed by their TESDA District director, Regional Director and Provincial director to indicate how many scholarship vouchers they need for training within the year. The Qualifying Map will be first investigated by the TESDA district representatives to check if the school or training centre or company is capable of the following: 1) Ready and up to date facilities for training, 2) Updated records of all COPR, NC, NTTC of trainers, 3) The right number of classrooms to support the number of trainees as requested in the QM, 4) The requesting training centre has no pending cases with TESDA, 5) The training centre has good standing records of the graduates and assessment each year. At least 70% passing rate of graduates with assessment should be recorded for all the vouchers or scholarships consumed each year. If the training center does not follow the standards as required by TESDA; the Certification of Registration will be revoked or may not be renewed by TESDA.

TESDA - Qualification Map

Sample of Blank QM

    All TESDA registered schools and training centers receiving the TESDA vouchers have to finish their training first BEFORE they get paid by TESDA. Meaning the schools will have to shoulder all the expenses of the scholars in their school for the term of the vouchers given by TESDA before they get paid. As proof of billing and receiving the check payment from TESDA the school needs to follow and submit the following:

  1. Birth Certificate of the scholars (for the creative sector, only 18-45 years old are allowed)
  2. Scholars need to pass a creative exam to qualify
  3. Affidavit of being a scholar is submitted  by the students
  4. Answering an online exam provided by TESDA called YP4SC (Youth Profiling for Starting a Career)
  5. School submits the enrollment report for students
  6. School submits the attendance with signature of students
  7. School schedules an assessment exam after the student graduates

    Students who pass the assessment will be given the National Certificate (NC), those who passed only a few competencies are given the Certificate of Competency (COC) and the students who did not pass are given feedback by the assessor and is encouraged to study again their mistakes and are rescheduled for reassessment when they are ready.

     8. School submits a terminal report if they will bill the number of graduates to TESDA.

     Whether the students pass or not, as long as they completed the training, TESDA will pay the vouchers. In certain cases, if the student drops out, got sick, becomes disabled, transferred to another region or country – the vouchers allotted will be void and TESDA will not pay the voucher to the school.

     The schools should qualify all their scholars, as there is no expense paid by the scholars, in many cases, the schools even provide the materials used by the scholars. If the students show little drawing ability, the schools usually ask the student to study basic drawing first, which they will have to pay a tuition. If the students are assessed as good enough to take the animation courses, then they can apply for a scholarship. Internal arrangements should be made by the school to their students to ensure that the training will be completed. Non-completion of training in some schools will result in the payment of damages equivalent to the amount of the scholarship by the student to the school.

     9. After the student graduates, they can either work as an intern or on-the-job trainee to companies or get a regular job if it’s available. Schools are required to report the employment whereabouts of their graduates within 6 months and submit this to TESDA. Non-compliance means the school is not following requirements and will affect its next request for vouchers. The point of the scholarship program is to be employed after training.

     10. TESDA releases the payment after all requirements are submitted by the school in a timely manner. Checks are processed and released around 1 to 3 months after all documents are submitted. A TESDA staff informs the school if the check is already available. The school then gives an official receipt to TESDA as proof of the payment received.

Availing the Scholarship

    There are certain requirements needed for each candidate to be qualified to attend a scholarship program.

STEP 1. Depending on the training center, the candidate may take a qualifying exam, go thru an interview, show some portfolio or be reviewed to submit the financial status of the family to the training center for the initial screening process.

STEP 2. The candidate is oriented to the training center and the program. Documents from TESDA will be signed like the Affidavit of Undertaking, application form, and online forms. A separate agreement is also signed between the student and the training center. Official endorsement forms with names of students will be submitted to TESDA.

STEP 3. During the training, the student’s attendance, performance, and attitude are carefully monitored and evaluated by the accredited trainer. Scholarship vouchers are given out and filled up properly by the official student trainees. Dropouts and non-attendance will be reported to TESDA by the training center.

sampleVoucher FOR POSTING

Sample of Voucher

STEP 4. After the training, a mandatory assessment is scheduled by the training center.

STEP 5. Results of the assessment, terminal report, attendance, filled out scholarship vouchers, the billing statement will be submitted to the respective districts.

STEP 6. Wait for TESDA advice if all documents are cleared and checked out. Check payment for the scholarship training will be released to the training center between 1 to 3 months waiting time.

     The training center has 6 months to report to TESDA; the whereabouts and location where the graduates have been employed or currently working at. It is one of the final requirements of the scholarship voucher reporting.

ads

Ad to Get Scholars to Attend TESDA Training

Top Peg Trainees ( Traditional animation )

Some TESDA Scholars for 2D NCIII from Nov.17, 2014 to February 15, 2015

Top Peg trainees with Instructor Jay Fournier

TESDA Scholars Training for Animation Freehand Drawing 

Trainees for Digital animation

TESDA Scholars in Computer Animation Training

Trainees at Top Peg with Instructor Jon Lising

Trainees at Top Peg with Instructor Melvin Deondo

Trainees at Top Peg with 2 Trainers with Instructor Melvin & Edwin Devera

Article by Grace A. Dimaranan

TESDA – DOLE Onsite International Assessment

   TESDA and DOLE (Department of Labor and Employment) have launched their pilot Onsite Assessment in the last quarter of 2014. The pilot Onsite Assessment is to give assessments and certifications to Filipino OFWs (Overseas Filipino Workers) or those Filipinos working abroad who need certificates for their skills upgrade to have more employment options, get a raise on their current working status or get new jobs with their certificates after showcasing their skills from an onsite industry knowledgeable TESDA accredited assessor/s.

     This is the first time that TESDA has launched to go outside the Philippines bringing the TESDA Assessment standards to other countries. TESDA has sent accredited TESDA assessors, certification officers, assessment center managers and officials to conduct and sign certificates in some pilot countries with Filipinos wishing to get certificates for relevant TESDA programs in those countries. The countries chosen for this pilot onsite assessment are Hong Kong, Singapore and Dubai UAE. I was chosen as one of the accredited TESDA assessors for the ICT Program – Visual Graphics Design NCIII for Dubai. TESDA paid for the airfare, food allowance and hotel accommodations for all the assessors invited; while DOLE prepared the venue of assessment, announced the assessment dates and screened the candidates in each of the countries mentioned. The venue for the assessment at Dubai was the Philippine Overseas Labor Office (POLO).

POLO OFFICE bldg in Dubai

POLO Building in Dubai

signage of assessment venue at POLO ofc

orientation at POLO office

Orientation at the POLO Building

     The TESDA programs that underwent assessment in Dubai last December 1 to 5, 2014 were: Visual Graphics Design NCIII, Technical Drafting NCII, Beauty Care (Body & Face) NCII, Beauty Care (Nail Care) NCII, Hairdressing NCII, Massage Therapy NCII, Pinoy Wellness (Hilot) NCII and Food & Beverage Services NCII. The assessment was 8 hours and the results were given before the candidates went home. In Dubai, there were 123 candidates who arrived for assessment – 101 passed and received the full NC, 21 received COCs and only 1 was not yet competent for the assessment. The OFWs who took the exams relied more on their experiences rather than having some formal training. The others who had a core group met once a week to share their experiences and help one another in technical skills such as the use of computers. 

Grace at Assessment venue

Grace at the Visual Graphics Venue

Grace with VGD candidates

Grace with Visual Graphics Candidates

orientation of the Visual Grphics design Candidates

Orientation for the Visual Graphics Assessment

VGD pinoy candidate with COC

Candidates with COCs

Full qualification_wilfredo

Full Qualification for NC in Visual Graphics NCIII

wilfredo_dubai_fullNC

NC for Visual Graphics NCIII from Dubai

DCIM118GOPRO

Technical Drafting Assessment -Dubai

dubai_beaty care

Beauty Care Assessment – Dubai

massage therapy NCII

Massage Therapy Assessment – Dubai

     Overall, it was a good step for TESDA-DOLE to come up with the onsite assessment but it was a costly undertaking. The full force of certification officers and assessors plus some of the materials for assessment were brought and flown to the pilot countries. In the future, the venue office and partner agency will provide the materials for the venue to lessen the expenses. It was a good experience and all the Filipinos abroad were very thankful that the certification was brought in and it gave them a chance to upgrade their skills and get a better job with a better pay grade. In UAE, they all said that the certification is a big factor in employment.

DCIM118GOPRO

Dubai Representatives and Assessors at the Airport

dubai_grp pic_ TESDA and DOLE reps

Dubai TESDA and DOLE Representatives

Awarding with Tesda & dole ofcrs

Awarding with TESDA and DOLE Officers at the POLO

dubai graduates 02

Dubai Graduates

Article by Grace A. Dimaranan

National Certificate Examinee/Examiner – Alstaire A. Sarthou

National Certificate III Assessment for 2D Animation

     Back in March 2009, I knew that the Animation Council of the Philippines (ACPI) was having a partnership with TESDA. And I believed that Grace wanted Top Peg Studio to be a training and assessment center as well for TESDA. TESDA awarded scholarship vouchers for training centers, and with these vouchers, training centers can give discounts to people want to gain skills for his chosen industry but don’t have the means for a college education. Grace asked me if I wanted to take the National Certification (NC) III Assessment for 2D Animation. I asked her what was this assessment for, Grace said that it was like a diploma for us, that we were industry standard animators. I thought why would we need it since we have worked without this NC. I then learned that for us to train animation under TESDA, we would also need this certificate as one of the requirements. I would be the first trainer for Top Peg with an NC III certificate, so I said yes. Since I was already an animation practitioner, I did not need to take up any NC classes in animation.

     The assessment was held at the Cutting Edge Studio in Makati. I had good company with some longtime animators in the industry, and there were some from Iloilo. I learned that there were 2 types of assessment for 2D animation: NC II which is for Clean Up and In-between and NC III which is for animators. The assessor for that day was Grace herself and there were also 2 TESDA representatives to observe. We could animate digitally or traditionally. I chose to animate digitally because I was excited to use the Wacom Cintiq tablet; there were about 20 Cintiq tablets in the studio and it was my first time to use one. One of the animators at Cutting Edge showed us how to use the tablets, which was fairly easy to use.

cutting-edge-prod-1_zpse8ac249b

Cutting Edge Studio in Makati – One of Three Rooms

     There was an assessment fee of Php 500. We then needed to fill up the self-assessment guide, this is a pre-assessment tool to help the candidate and the assessor determine what evidence is available. In this guide, there are a set of questions regarding your chosen field, and if you answer no to any of the questions, you cannot take the assessment. Even if you say yes, the assessor will still see if you are competent to take the test and be certified. But some people just answer all yes, thinking that they could pass the assessment test later on.

     The assessment lasted from 9am to 5pm but I cannot divulge the assessment process for animation because this is confidential and prevent any leakage for future candidates. I can only say that the assessment has an actual demonstration or practical exam and after this an oral interview. After the practical exam, we were interviewed by Grace individually in front of the 2 TESDA representatives. I also learned that this is a way for the assessor to gather evidence of the skill and knowledge of the candidate/s. When everyone was done, we were individually informed of the results. I learned that all the industry animators passed, but the candidates from Iloilo did not qualify. I later learned that they were teachers for Multimedia, and they really did not know how to “animate”. They knew how to make shapes and move the text digitally, but they did not know the principles behind animating a character.

    After 10 days, I asked my wife to pick up my certificate at the TESDA office in Taguig. Grace told me that I should pick it up personally, but if I am too busy, I need to give my wife an authorization letter and my ID for her to get it.

       Upon receiving my certificate, I learned that it expires after 5 years. It had a dry seal of TESDA and a certificate number. I used this to check if  I am listed on the TESDA site. They said when you pass the assessment you will be automatically listed. I entered my name but there was nothing listed. When I entered the certificate number, I saw my name incorrectly spelled. It was spelled Sarthon instead of Sarthou; oh well at least the name in the certificate was correct.

NC 3 in 2D Animation

 2D Animation NC III Certificate

National Certificate 3 Assessment in Visual Graphic Design

     On May 2010, another NC III assessment was scheduled at TESDA Women’s Center in Taguig, this time it was for Visual Graphic Design. Grace asked me and another colleague, Socrates Gucor if we wanted to take the assessment. I asked Grace at that time as to why do we need to take another certificate. This is where Grace explained that in order for us to teach other fields like Illustration and Design, we needed to have the National Certification for those fields. We will also need to have an NTTC 1 (National Trainers Training Certificate 1) to be an official TESDA trainer. I was surprised with all the requirements, but we both agreed to take the Visual Graphic Design assessment. I was also curious as to what they would have us do in the assessment.

     At that time, I really didn’t understand the purpose of the certificates and so do many other animators when Grace invited them to take the assessment. It seemed to be time-consuming, as animation studios or even art studios don’t really require employees to have one, I was wondering where else I could use these certificates.

    At the TESDA Women’s Center in Taguig, each candidate had a laptop ready in the assessment area. We were introduced to the TESDA representative, an assessment center representative (who is also from TESDA), and the assessor, Grace Dimaranan. I was surprised that Grace was also the assessor for Visual Graphics, I later learned that there was no assessment centers available for this skill. Grace said we should apply to be an Assessment Center, it would be an additional income for the company. We were given the orientation of what to expect during assessment and we were given a self-assessment guide and application forms. The fee was still Php 500. The assessment procedure was still the same, a practical exam or demo followed by an oral interview. Aside from me and Socrates, the other candidates were new graduates or were already working. Of the 12 candidates, I believe about 10 of us passed. 

     After the assessment, we were each given feedback on our work. Each candidate was given the result separately. Grace gave our claim stub for those who passed. And we were told that we would be able to get our certificate after 10 days.

NC 3 in Visual Graphic Design

NC III in Visual Graphic Design

Trainers Methodology 1 or TM1 or TM Plus

     Ever since I got my first NC, Grace has been trying to schedule me to take the Trainers Methodology Seminar 1 or TM1. Together with the NC, these are the requirements to be an accredited trainer or assessor for TESDA. This seminar teaches the methodologies in training under TESDA standards. We would also learn how to make a CBLM which stands for Competency-Based Learning Materials under the TESDA template and guide standards. The problem was it would take 21 to 30 days, 8 hours a day, to complete the whole training. This would be hard not only for me but for the studio as well since I didn’t have any assistants during that time.

     Then there was a special TM1 training that would be done in Singapore. I believe TESDA was working with Singapore in providing trainers for a Training Center there. Grace sent one of our Junior Artists – Rec Bolanos, who was the Top #1 artist who graduated from our Pasay training. After a month, he said he hasn’t finished his portfolio to be able to receive his certificate, then after this, he still needed to take the assessment. My first impression was the training looked really difficult, since it took a month and Rec had still some work to finish. Eventually, Rec resigned from Top Peg; and because of family matters and he wasn’t able to finish what he started in training. So this really made me think if I really wanted to spend this amount of time just to study how to train the TESDA way.

     Grace then announced that she had worked out an agreement with TESDA together with ACPI. Instead of 21 to 30 days, the training would only be in 12 days, and Grace, together with other industry based assessors would be the ones to handle the way the training will go. Her reasoning was she, as an artist might be able to better explain to other artists the standards of TESDA. They called this the fast way of training TM1 or TM Plus. Since it was only 12 days, it was the best time for me and the studio to have us enter the training.

     November 2012, after finishing some deadlines at the office, I was able to enter the 2nd batch of training. The training was at the University of Makati (UMAK); I was surprised at how big and advanced the facilities were. The training fee for TM1 was Php 15,000, but since this was a scholarship given to ACPI, it was free. Together with Luis, we were the artists from Top Peg to enter the 2nd batch of training. This was a great opportunity for us to learn something new.

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   Training at the University of Makati

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     On the first day, we were oriented on what to expect in the training. At the orientation, I met other candidates, some from other animation studios, others were teachers from STI, and some were computer programmers. We were also batched together with hundreds of Call Center Trainees, but they were segregated from us since their training was a bit different. From what I understood, TESDA is based on a modular way of training, where each core competencies or main topics are separated into modules. Each trainee needs to finish one module at his own pace before going to the next module. For TM plus, we needed to complete 3 parts that had 6 modules and 1 internship. These were:

A) Deliver Training Sessions – which showed us how to teach candidates using a competency-based curriculum and maintain a training center. These are separated into 5 modules.

1) Plan Training Sessions

2) Utilize Electronic Media

3) Facilitate Learning Sessions

4) Supervised Work-based Learning

5) Maintain Training Facilities

B) Conduct Competency Assessment – which showed us how to conduct an assessment for candidates who want to be assessed on their chosen skill.

C) TM Plus Internship – at the end of 12 days, we needed to apply what we have learned to the next batch of candidates for TM plus, to see if we understood what we have learned.

     Each topic or module had each of us complete 3 forms of self-assessment, a written test, multiple choice questions, that we needed to complete after reading a module. If we didn’t reach the required number of correct answers, we had to go back and learn. Then we can take the test again until we pass it. On other modules, there are demos or practical exams we needed to perform these to be evaluated if what we are doing is correct. And lastly, oral interviews on some of the modules…these are the different ways the facilitators will check if we understood the modules.

     The first module, Plan Training Sessions, was the most tedious of all modules. We needed to do a portfolio, which is a sample module or learning material. We will base this material on Training Regulations of the skill we wish to teach. From here we would know the number of hours each topic the candidate needs to complete. These means that everything that we would teach or create in the module will be based on the competency or skill needed in the industry.

     The biggest difference between TESDA and a college education is self-paced curriculum versus learning at a specified time in college. After the 12 days, if we haven’t finished our portfolio, we can still continue until we finished everything. After 12 days, we had completed everything except our portfolio. What was difficult in completing our portfolio was that we needed to place all the lectures of the specific core competency we chose. The simplest description of the portfolio we are doing is a Workbook for the candidate. This module when finished can be sold to TESDA training centers for them to use. Each module can command a price of P40,000. You are like an author creating a book. In the training, we didn’t need to finish the module. They just want us to do one learning outcome or topic. However, none of us ever sold our module, since some training centers may just copy it and sell it themselves. Some training centers also don’t have people who have passed TESDA TM Plus, so they will just use the modules as if they have a TESDA passer for the module skill set and the TM Plus.

      The first few days were really difficult, it was like learning a new language. When we started, there were about 40 trainees, slowly the number of trainees dwindled. Some didn’t really understand why they needed the training and the others just can’t afford to be away from work. We noticed that the candidates from STI, who were teachers were fast in finishing their tests. They said it was almost the same as making a lesson plan for their students in school. Since most of us were in the creative field, we each had a different interpretation of the system. What we did is all the creative trainees grouped ourselves into 3 or 4, and we worked together and helped the slow learners. Our method was also within the TESDA method of training. The facilitators told us that our group was better at working together compared to the first batch. The result was 22 out of 40 trainees completed the training, this was the highest among all the batches that finished the training.

      We felt we were back in high school during the training. The facilitators were really patient with us and they helped us complete each task. Since they were from the industry – 2D and 3D animators and programmers; they understood what we were going through. The facilitators were the ones who pushed and encouraged us to finish the training.

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TESDA Facilitators Guiding Me

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     After successfully completing the TM plus training, all of us still needed to complete our portfolio. If and when we finish and when we feel we are ready, then TESDA would schedule our assessment. Other artists from Top Peg eventually joined the training, but in different batches. Eventually, we had 10 artists that completed the training.

      After a few months, TESDA had a schedule for TM plus assessment, and they asked if we were ready to take the assessment. After some encouragements from Grace, we were rushed to complete our portfolio, and we agreed on taking the assessment.

      The assessment was conducted at UMAK, there were 11 of us that needed to be assessed – 8 from Top Peg and 3 animators from other studios as well. Luis, Jose and 2 other Top Peg artists who completed the training begged off since they still had a few more pages lacking in their portfolio. There were 3 representatives from TESDA, and we felt we were like in a thesis presentation in front of a jury panel. We were all first oriented on what to expect, this is where I began to notice the procedure of assessment of gauging what we learned. After the orientation, we were given a written exam, which was mostly essay type. Then we each did a demonstration of how we facilitated training, and then we were each interviewed on different topics. The assessment took the whole day, from 9 am to 7 pm. I noticed that we covered all the topics from our training except for Conducting. This made me think that our assessment was not yet over. 

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Facilitating a Demo

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      After evaluating all our tests, they first talked to the 2 animators that weren’t from Top Peg; they were informed that they didn’t pass the assessment. While all the remaining 9 candidates passed. We later learned, that the 2 who didn’t make it were not ready and did not finish their exams. We also learned that the assessment was just for Deliver Training. We still needed to take the assessment for Conducting Assessment. We asked why the assessment wasn’t complete, they said most of the trainees in UMAK were call center trainees, and they didn’t have to conduct assessment; conducting tests weren’t really needed. So I assumed that the training at UMAK was specifically catered to call center professionals and we were just an addition to the training.

      On June 4, 2014, I took the assessment for Illustration which I passed. The procedure was basically the same for 2D Animation NC III and Visual Graphics NC III.

NC 2 in Illustration

      It was another few months before the assessment for conducting was scheduled. We were a bit confident in taking this assessment because it only had one topic. Compared to Deliver Training Sessions, which had five topics. We were then assessed at UMAK, with 3 representatives from TESDA. This time we were all Top Peg artists being assessed. During the orientation, we were briefed that there were new rules in getting your certificate. Aside from the Php500 registration fee for assessment, the candidates would need to pay an additional Php150 for DHL and the certificate. You can’t pick up your certificate from TESDA anymore, they will deliver it via DHL. The candidate should personally receive the certificate from DHL, if he is not present, DHL won’t release the certificate to anyone, except if you issued a Notarized Authorization Letter for someone who will receive it for you.

     I and the other artists from Top Peg volunteered to be the first ones to be assessed. We were thinking that we would just re-enact the procedure for conducting an assessment. This was what we were taught during our training. We had props, blank papers, the different forms and sheets that we needed and our portfolio as a sample module. We were then told that they don’t allow blank papers as props, they wanted replicas of our official forms to see if we knew how to fill up specific information and sign in the proper place. After that, we had a 1-hour lunch break. During the break we informed the rest of the artists to photocopy the forms of our portfolio, or try to to do a replica of the forms; if we didn’t pass at least the others can.  After a whole day of assessment, we were informed that only 3 of us passed. We were told we lacked some props needed and that our demo looked and sounded like it was scripted. I asked the artists who passed what they did differently, they said they demonstrated in Tagalog instead of English. So speaking in English sounded scripted to them, at least now we know.

      After a few months again, I was told that I needed to assess some candidates for visual graphic design. Even though I didn’t pass the assessment, I was endorsed by TESDA to conduct the assessment, because there were very few assessors on specific skills. An example would be animation since there were really no industry based assessors for animation before us, Grace was always endorsed to assess. Grace and other people in the industry created the Training Regulations for animation, but she and the rest of the group who created it didn’t have a National Certificate nor a Training Methodology Certificate.

TMplus Training Certificate

    We were then scheduled to retake the assessment for conducting sometime in October 2014, but this assessment would be conducted at Top Peg Studio as it was an assessment and training center accredited by TESDA. So the 5 of us who didn’t pass the last time plus Luis, a 3D animator, comic book illustrator – 70-year-old Danny Acuña, and 6 people from Lyceum with baking, food preparation, and electrical skills were present. We were oriented again, but this time we knew what we had to do. I was observing what they were doing while orienting us because basically, we would be re-enacting what they were doing. The people from Lyceum wanted to back out, because Top Peg was catered for animation and arts, and we didn’t have any equipment that they needed to use. But they were encouraged by the TESDA representatives to find a way to still do their demos. After a whole day of assessment, I really felt for Danny Acuña, I can sense he was really stressed and tired and he too wanted to give up. Some of the candidates were assessed for both Delivering Training and Conducting Assessment; I saw how hard it was if we took both assessments in a single day. We finished around 9 pm. We were happy to learn that we were all certified competent by TESDA. We were told that we would receive our certificate after 2 months. I was also happy for Danny Acuña, for being the first veteran comic artist to have a national trainers training certificate or NTTC.

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Passing the TM Plus Assessment Test

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       My Trainor’s Methodology Certificate (TMC) was issued last September 9, 2014, but it was only on April 17,2015 that I was able to get it from TESDA. The certificate is given to individuals who have passed the assessment for attending the Trainer’s Methodology Training (TM 1). The TM Assessment is composed of two exams, one is for training and the other is for conducting the assessment. At the University of Makati (UMAK), where I first took the assessment, to our surprise was only composed of the training exam. So our assessment was incomplete and we had to wait for the next assessment. We were able to take the conducting assessment again at the Top Peg Animation Studio under the Lyceum Assessment Centre. So to get the TMC, they needed to combine both our Assessments from UMAK and Lyceum. Months have passed and we still have to receive our TMC, this was when we learned that the Regional Office hasn’t released our TMCs because there was an issue with UMAK. Apparently, UMAK’s papers weren’t complete, which meant that it wasn’t an official assessment center yet. So all the candidates who took their assessment at UMAK had their TMCs put on hold.

       The next step is to combine our TMCs with our National Certificates so we can receive our National Trainor’s Training Certificate (NTTC); get our official ID’s and become full fledge trainers and assessors. TESDA said we can receive it within two weeks of receiving our TMCs. Before we can apply for our NTTCs, we need to renew our expired or expiring National Certificates (NCs), because the expiration date of the NTTC will follow the NCs date. So we had to renew all our NCs, paying P100 per NC to be renewed. I renewed by NC for Visual Graphics and 2D Animation, while Luis renewed his NC for 3D animation; after 2 weeks we received our NTTCs.

Als TMC

Trainer’s Methodology Certificate

Als 2D NC3

Als VGD NC3

Luis 3D NC3

Renewed National Certificates

Alstaire Allison Sarthou-NTTC I 2D Animation NCIII

NTTC 2D Animation NCIII

Alstaire Allison Sarthou-NTTC I Visual Graphics Design NCIII

NTTC Visual Graphics NCIII

Luis Dimaranan-NTTC I 3D Animation NCIII

NTTC 3D Animation NCIII

     After getting the NTTC certificates, I still need to get some experience in assessing candidates who would like to get the NCs for their chosen field/s which are under my NTTC specialization. I need to get the assessors loading – being an apprentice as an assessor to assist or qualify at least 2 candidates per qualification to get their NCs for Visual Graphics, 2D Animation or Illustration – my NTTC specializations. After the loading, I will receive a loading certification from the assessment center duly signed by the accredited assessor, manager of the assessment center and a TESDA representative. This coming May 20 to 21, 2015, there will be an assessment for NCs at Top Peg Animation Studios Inc. – a duly accredited assessment center by TESDA. On May 20 it is an assessment for Illustration NC II and for May 21 it is an assessment for 2D Animation NC III; the assessments will last from 8 am to 5pm. Whether the candidates pass or fail, I will still be able to get my Loading Certification just as long as I have assisted 2 candidates per qualification. After getting the loading certification, I still need to give a letter of intent and submit other requirements to TESDA to get my IDs for the specialization I have assisted on. 

      There were 10 candidates for the assessment of Illustration NC II. The candidates were all teachers from the United Christian Academy (UCA) in Parañaque. The teachers were teaching English or MAPE (music, arts, and physical education); they needed to take the assessment in preparation for the K to 12 system in 2016 for high school students. Four of the teachers passed and the rest were not yet competent (NYC). Those with NYC marks can still take a reassessment if they think they are ready to take it again. UCA has other TESDA courses being offered to their students which are mostly related to information technology, such as computer technician, software development, visual graphics and web design. 

       I handled only 2 of the teachers under the maximum loading system of TESDA as an apprentice assessor. The rest were assessed by Luis Dimaranan – the main assessor. The two teachers I assessed were both NYC, as I reasoned out they lacked the techniques to draw, so they can’t possibly teach the high school students. I think those who passed just relied on their natural talent and inclination for drawing. The others found the test difficult and did not continue with the test.  The candidates were given scenarios and they are to execute the scenarios as best as they can to meet the industry standards. Sometimes the assessments reach late into the night and to make the assessment shorter; if the drawings are bad, we will not interview the candidates anymore. We started at 8 am and finished around 4 pm.

      For the Animation NCIII, there were 11 candidates. One of the candidates was just there just to get the special order number (SON) given to candidates as proof they took the assessment from a TESDA accredited institution. The said SON is a requirement for that student to get his diploma from his school, if there is no SON, even if he graduates he cannot receive his diploma. He needed the SON to go abroad. He did not even bother to take the test as he saw it was difficult and he just paid the P500 fee for the assessment. From the 11 candidates, 8 were from Informatics Alabang Branch, where the students need to take the assessment as a school requirement. I assessed 2 from Informatics but both failed, as animation is just one of their subjects in their IT multi-media course. Of the 8 in Informatics, only 1 passed and 2 got Certificate of Competency (COC) for some subjects and the rest failed. Of the remaining 2 other candidates other than from Informatics, 1 passed from Naga and the other failed. 

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TESDA Representative Ms.Antonia C. Ebio (standing green shirt) for Animation NCIII

Alstaire giving feedback to candidate 2

Alstaire Giving Feedback to Candidate

Melvin Interviewing Candidate 2-2

Melvin Interviewing a Candidate

2D Animation NCIII Loading - Jon Lising

John Lising Loading Animation NCIII

       On the same day, there were 10 additional candidates for the Illustration tests. The candidates were from the Philippine Art Teachers Association. 8 of them came from St. Mary’s School in Meycuayan, Bulacan, the other 2 were from DepEd Manila and General Vicente Lim Elementary School. They took the test in preparation for the K to 12 system next 2016. Seven (7) of the teachers passed. Luis Dimaranan was the assessor and veteran comic artist Danny Acuña was getting his assessors loading.

       So after finishing my assessor loading, I submitted the following to get my ID to TESDA: 1) Letter of Intent, 2) Duly accomplished form (TESDA-SOP-CACO-06-F12), 3) Resumé, 4) Certificate of Employment (Original Copy), 5) National TVET Trainer’s Certificate (NTTC) – Photocopy, 6) National Certificate – Photocopy, 7) Loading Certificate – Original Copy. The IDs and certificate for the Assessors were released last June 19, 2015.

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Loading Certification for Illustration NCII

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Loading Certification for 2D Animation NCIII

Alstaire Sarthou ID - Illustration NCII

Alstaire Sarthou ID -2D Animation NCIII

IDs for Illustration NC II and 2D Animation NC III

Alstaire Sarthou Certificate of Accreditation - Illustation NCII

Alstaire Sarthou Certificate of Accreditation - 2D Animation NCIII

Assessor’s Certificates

    After the assessment loading, I had my first real assessment as an assessor in Naga City last July 11 – 12, 2015. The  Philippine Computer Foundation College (PCFC) in Naga will be having their first assessment and they had no assessors near their area, so PCFC has to get 3 assessors (myself, Sarah Amo, Melvin Deondo) from Top Peg Animation Studios Inc. to have their students and other industry professionals assessed. The PCFC paid for our travel fare, hotel lodging, food and fees for the assessment.

     We left the Alps bus station in Alabang, Metro Manila around 5:30 pm on Friday and arrived at 3:00 am Saturday – July 11, 2015, at the Naga City Bus Terminal. From there, we proceeded to the CBD Plaza Hotel and we had our breakfast around 6:30 am. The hotel is about a 10-minute ride to PCFC via trimobile (tricycle). The assessment on Saturday lasted from 8 am to 7 pm; there was a TESDA representative present that day to observe the assessment. On Sunday the assessment lasted from 8 am to 9 pm. If we did not extend the time for the assessment many students will not be able to finish the tests, so many will fail. There were more students and graduates than industry professionals who took the assessment test.

01 PCFC Assessor Alstaire
004 Sarah sorting the Documents

Sarah Amo 

002 PCFC Candidates with Melvin1

Melvin Deondo

     The assessment tests given were Animation NC II, where 23 applied, 4 were given the National Certificates (NCs) (3 students, 1 professional) the rest were given Certificate of Competency (COCs) for the core competencies they passed. The other test was Animation NC III of the 18 who took it 10 (half were students and the other half industry professionals) were given the NCs and the rest COCs. The last test given was Visual Graphics NC III, of the 12 who took it 3 students got their NCs and the rest got their COCs. PCFC wanted to have the Illustration NC II to be held also but TESDA denied it as PCFC has no registration or Certificate of Program Registration (COPR) for the said course. 

     The next day, July 13, 2015, on Monday, the PCFC gave us a tour of Naga City and we paid for the activities. We visited Mt. Isarog hot springs, Hacienda where we went horseback riding, rode ATVs, ziplined, etc.. Since it was PCFCs first assessment, they prepared the documents for us to sign at night. Around 7:30 pm, the PCFC told us the Registry of  Workers Assessed and Certified (RWAC) – a TESDA document will only be ready for signing the next day. Come next day on July 14th at around 8 am we signed the documents who got the NCs and COCs.

007 Mt Isorog Hot Spring Resort 3

007a Lunch with our Hosts from PCFC

Lunch with PCFC Officials

008 Ostrich Farm at Hacienda de Naga

009 Horseback Riding at Hacienda

012 Horseback Riding at Hacienda 2

017 ATV at Hacienda 2

014 Zipline at Hacienda de Naga

015 Zipline at Hacienda de Naga 2

010 DOTA Tauren Chieftain Statue at Hacienda de Naga

011 Iron Man Statue at Hacienda de Naga

     After the signing, we were invited by a long time colleague – Mr. Joel Orcena to Daet, about 1.5 hours away from Naga. Joel worked for the first episode of Jobert and the Crop Circle Warriors® but left Top Peg Animation Studios Inc. due to some family business matters to take care of after his dad passed away. Joel now works as an instructor for Visual Graphics and Animation at Teknikas Benning Corporation – a school his friend owns in Daet. We arrived at Daet around lunch time and Joel treated us for lunch and the beach area. We left Daet for Manila round 7:30pm. 

020 Daet Lunch treat by Joel

Lunch at Daet

018 Melvin at Teknikas Benming Corp at Daet

Melvin at the Art Wall of Teknikas Benning Corporation

019 Melvin's Drawing at their Art Wall

Melvin’s Drawing – “Jessalaine” at the Art Wall of Teknikas

023 Joel Orcena in Bagasbas Beach Daet

Joel Orcena at Bagasbas Beach, Daet

021 Bagasbas Beach in Daet

022 Bagasbas Beach Daet 2

Portfolios at Top Peg

000 KristianIsmo Color 043015

King

Jess Quick Sketch

Painting 1

Illustration – Alstaire Sarthou

Jobert_003

Tutubi_poster_001

Yakima River Map

chef Tatung

Kiosk Design 1 by Als

Kiosk Design 2 by Als

Visual Graphics – Alstaire Sarthou

Rommel Gimpaya

3D Animation – Rommel Gimpaya

melvin deondo 2D Anim NC2 n Visual Graphics Design NC3

2D Animation and Visual Graphics – Melvin Deondo

Sample Works

3D Animation – Edwin De Vera

bank of g02

Dr jJonesStill

bank of g 01

oldGuy_Render

DeNiro_Render

3D Animation – Luis Dimaranan

01-2

pow cover

2d game cover

2D Animation – Carly Calixtro

Top Peg Training and Assessment Center

      Training is offered at different accredited TESDA training centers. Each training specializes in specific skills. At Top Peg, we train more on the creative skills: Illustration NC II, 2D Animation NC II & NC III and Visual Graphics Design NC III. There is a training center near us that caters to cooking skills, they offer baking, pastry making, and cooking. To be an accredited TESDA training center, the trainers must have an NC or National Certificate of the specific skill he or she will teaching plus the NTTC 1 or National Trainer’s Teaching Certificate 1. 

       An accredited training and assessment center has to have a certificate for each of the training and assessment being given by the center. The certificates are called the Certificate of Program Registration (COPR). For example at Top Peg, the accreditation for the various creative skills taught and assessed (Illustration NC II, 2D Animation NC II & NC III, Visual Graphics Design NC III) they have 4 COPR certificates. The certificates given to the training centers are safety measures for the applicants or students, since Top Peg can’t be a training center where it has no passers for the NC or no expertise on say for plumbing, auto mechanic or other art related services such as fashion design, so it doesn’t have these certificates. Shown below are just samples for 1 skill for a training and as an assessment center at Top Peg.

2D Animation NCIII COPR page 1

2D Animation NCIII COPR Page 2

COPR for 2D Animation NC III

Assessment Center

2D Animation NC III Assessment Certificate

     At Top Peg, we now have a total of 8 Trainers/Assessors for the mentioned courses in the previous paragraph. We would also want to get NCs for 2D Game Art NC III and Technical Drawing NC III. When the assessments for these skills are scheduled by TESDA, we will apply for qualification.

      Shown below are 2 batches of 2D Animation NC III examinees last October 2014, taking their assessment at Top Peg Animation Studio. Some of the reasons why the examinees take the NC assessment are a) One candidate said their office requires employees to get an NC to officially identify a person’s level of qualification. He works in a government office as an artist. b) Overseas recruitment was also mentioned, a job in Australia required the applicant for a certificate or proof of that particular skill. c) Some students said they were required by their schools such as Informatics and STI to be assessed for them to acquire a certificate number. Once you are qualified your name will be on the TESDA website. d) Candidates from STI also said the NC was a requirement for them to join a national contest. e) Other candidates said the NC was an additional proof of their skill that they can use to apply for a job.

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Successful TESDA Scholars Under Top Peg Training

    Here are some profiles of successful TESDA scholars under Top Peg Animation training who were willing to share some of their testimonies on October 7, 2015. They are proof that the TESDA scholarship with proper training can help people improve their lives and attain their goals.

    1) Carlito “Carly” D. Calixtro Jr. – 2009 PGMA (President Gloria Macapagal Arroyo) TESDA scholarship graduate. He is 24 years old and lives in Las Piñas City. He was once our TESDA scholar who took up 2D Animation NC II and NC III and now he is one of our trainers who teaches animation. He is also a Top Peg Animation & Creative Studio, Inc. junior director and 2D Animation NCIII assessor.

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     It helped me build a firm foundation of my skills. Thus, with TESDA, I have been productive and hands-on with work. It will be so helpful for those who are willing to learn in a short span of time and be able to make a living out of it.” – Carly

     2) Joanne “Joja” N. Lagumbay – is 21 years old and lives in Las Piñas City. She was a 2014 I-TWSP (Training for Work Scholarship Program) TESDA Scholarship graduate in 2D Animation NCIII and is now working as an animator at Top Draw Animation, Inc. located at Tektite building at Ortigas Centre, Pasig City.

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     “Sobrang swerte ko na nakapagtraining ako sa TESDA. Kasi ang laki ng advantage pag nagwork sa isang studio. Saka sobrang galing ng mga nagtuturo especially si Mam Grace at Sir Luis at Sir Carly. Andami ko natutunan at ayun, laki ng utang na loob ko sa kanilang lahat.”Joja

     3) Noriel L. Villacorte – 27 years old who lives in Las Piñas City was a 2012 I-TWSP TESDA Scholarship graduate in 2D Animation NCIII. He is now an animator at Snipple Animation Inc. located at 37 Stella Maris Street, Kapitolyo, Pasig City.

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     “Malaking tulong sa akin yung training ng Top Peg Animation & Creative Studio under TESDA scholarship. Nakatulong ito sa akin para makahanap ng maayos na trabaho at maabot ang mga pangarap ko. Malaking bagay ang TESDA Scholarship Program sa kabataan ngayon para sa mas maayos at maginhawang buhay.”Noriel

     4)  Raymond Peter P. Laping – 26 years old from Noveleta, Cavite, was a graduate of Animation NC II and 2D Animation NC III in 2014 which finished early 2015. He is now an In-betweener at Snipple Animation Inc. in Pasig City.

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     “Thankful po ako sa lahat sa Top Peg at TESDA program dahil malaking tulong po sa akin na napatuloy ko ang passion ko sa pagdo-drawing and learn for free. Thank you po ulit sa inyo.” – Raymond

5) Dennis H. Abigan – a graduate of 2011 TWSP Animation NCII TESDA scholarship. He is 29 years old and lives in Las Piñas City. He is now working at Toon City Animation Inc. at Pioneer Avenue, Mandaluyong City as a Digital Clean-Up and In-Betweener (CUIB).

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     “Maraming salamat po sa TESDA at pati na rin sa TOP PEG Animation Studios Inc. Naging stepping stone ko po ito para makapasok sa industrya ng animation. Nakapalaking tulong nito lalo na sa paraan ng pag drawing ko. After makapasa sa assessment mas naging kumpiyansa ako sa sarili ko. ang akala ko nga hindi ko na magagawang makapasok ng animation dahil wala akong sapat na kaalaman kung paano maganimate pero ng makaptraining ako sa TESDA natupad and matagal ko nang pinapangarap na maging ganap na cartoonist. Maraming salamat sa programang ito at pati na rin sa mag mentor ko sa TOP PEG. Kahit saang studio pa ako mapunta lagi ko pong babaunin ang mga natutunan ko sa inyo. Mabuhay TOP PEG.” – Dennis





Philippine Gaming Festival 2014

8 10 2014

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     I was kind of frustrated that Alstaire Sarthou was not able to attend any seminar on gaming due to his hectic schedule at the Tokyo Game Show. Before he left for Tokyo, he mentioned there was at least one seminar on September 21 that he could probably squeeze into his schedule so that we could learn more about gaming. But on the 21st, there were too many people at the entrance and he could not enter the venue, so he just left the site and visited his aunt somewhere in Tokyo and the next day he went back to Manila.

     Although Alstaire’s experience in Tokyo was a big help, it lacked the guidance of as to how are we going to proceed to develop our planned casual mobile game from hereon and avoid the many pitfalls we may encounter as a new indie game publisher. Five days after Alstaire arrived in Manila, Grace emailed me about a conference on gaming sponsored by the Game Developer’s Association of the Philippines (GDAP) to be held at the SMX Convention Hall on October 3 to 4, 2014. At first, I was hesitant to attend since I have some plans on the 4th and no one from Top Peg was attending, since all of them were busy. But after reviewing the topics and the number of speakers, I decided to pay for the 2 day conference within 2 days.

     At first I thought the conference was going to be a bummer, as the registration was still not prepared at 8 am when the announcement said that registration will start at 7 am, plus the personnel were kind of clueless also. To make the long story short, the conference started around 9:30 am and I thought  this may not end well after having a bad start.

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     My first impression quickly changed as the president of GDAP started talking about gaming in the introduction. The succeeding speakers were all competent, engaging  and had  interesting topics as well. I think that this was the best seminar that I attended in my life; the seminar fee was a real bargain (P3,500 for the first day and P300 for the second day) as one could never get this kind of information anywhere. Add another P200, then one can have access to to many other workshops about game development held in two other halls for two days, although I did not have time to attend the workshops anymore.

     I got a lot of practical insights and information before starting to develop a game. What the conference gave me was a reality check and some contacts with industry players. At least now we are better equipped to avoid major pitfalls and not expect too much as we are just going to develop a casual game as an extension to our property rather than making games as our main business.

     In my estimate, the 2 day conference was attended by 90% college students and most of these students came from the College of St. Benilde. There were more people for the second day but the conference hall was never full, since some were attending the workshops and many were trying out the games outside the conference hall.

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October 3, 2014 – Summary of Topics Discussed

Mr. Alvin Juban – President of GDAP – Introduction

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     Alvin is a very ebullient and infectious guy that he reminds me of the game character Super Mario. Despite the many challenges game development has in the country, Alvin remains optimistic. His mission is to increase the business side or number of game studios in the country within a 3 to 5 year time frame. To make gaming more visible and progressive, GDAP constantly coordinates and seeks assistance from government institutions such as the Board of Investments (BOI), the Department of Trade and Industry (DTI) and the Commission on Higher Education (CHED).

     GDAP together with the DTI is on a mission to promote and educate other countries of the existence of a gaming industry in the country by attending conventions on gaming abroad, such as as the XDS (External Development Summit) in Vancouver Canada last September 10 to 12, Tokyo Game Show last September 16 to 21, G-Star in Busan, South Korea on November 20 to 23, and GDC in San Francisco in 2015. GDAP also held the Philippine Game Festival (PGF) on its 5th year for the first time that was held publicly outside school grounds.

     In the recent XDS, Alvin says the Canadians were very surprised to learn that Filipinos can speak English and use computers. Alvin says that two things are positive points for us in the gaming industry: 1) Filipinos are naturally creative. 2) We can speak English well.

1) Senator Paulo Benigno “Bam: Aquino – “The Rise of the Philippine Gaming Industry”

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     Senator Aquino says he grew up with computers and is a gamer all his life. He believes that the gaming industry in the country is like where the Business Process Outsourcing (BPO) industry was 10 to 15 years ago. He says that Filipinos have all the elements to make his fearless forecast a reality, so he is pushing for the support of the BOI and DTI for this industry. If this sector grows, it can drive the economy forward and enable us to have the technology and discipline to make our own high value-added games. He hopes with the growth, more investors will start coming to the country.

2) Mr. Jeff Saez of NuWorks – “Using Games for Customer Engagement”

     Jeff comes from the advertising industry and he first gave some Philippine statistics from Nielsen. Of the 100 million Filipinos: the Internet penetration is 49%, social network penetration is 48%, mobile phone penetration is 70%, smart phone penetration is 16% and tablet penetration is 4%. Jeff also gave some statistics in terms of media consumption, top ten activities in the Internet and other statistics.

     Jeff then talked about the power of gamification, which is applying game principles to everyday activities. It uses the core drives of people and makes new uses for games. The participants are given rewards such as social recognition, progress or leader badges if they succeed in doing some of the activities required in the game. Local brands such as Sky Flakes uses vending machines located in malls and teaches people to dance their way for a few minutes for fun and fitness. Chooks to Go applies the vending machines in malls to increase brand awareness by engaging people to do some chicken moves and the participants have some fun with it. Gamification in these cases introduces game concepts, design and development to encourage product purchases.

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     Gamification is also introduced for agriculture, wherein buyer of agricultural products are informed of how their purchasing decisions help the farmers.

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     In other countries, gamification changes social behavior in driving more slowly, urinating in public urinals instead of anywhere and improving the submission of health records by just tapping the smart phone for children with cancer. The said children have little energy and motivation to record their daily health with paper and pencil. The gamification of the health record is tied up with a police TV series and the children are awarded some virtual badges.

3) Mr. Vincent Tanwar, Strategic Partner Lead Gaming Google – “Retaining and Monetizing Your Mobile Games  with Game Analytics”

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          To maximize revenues and lifetime value, one should harness the power of analytics. Vineet stressed the importance of analytics in analysing user behavior to have good business decision and and have a sustainable business. Gaming has a lot of things to measure where Google analytics can help like in user demographics, tracking marketing return on investment, engagement and retention rate, virality, social event, tracking ratings and reviews, tracking moetization, identifying and destroying road blocks, segmenting your audience, Google analytics in Admob and host of other information to track.

4) Mr. Markku Kero of Eqela – “Maximizing Cross Platform Technology for Game Developers”

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    Markku’s topic is about the technical limitations encountered with softwares in making games. The cross platforms can help in enhancing softwares. Although there are issues with cross platforms, it can still be improved. One thing that needs to be addressed is how to program the game without eating too much battery power.

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5) Mr. Gabby Dizon of Altitude Games – “Making Games for the Asean Market”

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    Gabby talked about how start-ups can manage with a small budget to improve their game. He talked about his experience with his current mobile game “Super V” which is currently at Google play. With only $60 as a budget, he was able to reach 55,264 page reach. He started with only one level with quick art and tested it in Singapore’s Casual Connect. From there, he learned what players positively reacted to – the theme was well received and artwork loved but the negative was confusion on the structure. So with the feedback, he improved on the parts that needed some adjustments.

6) Mr. Kimi Iwasaki of Klab Cyscorpions – “Designing Japanese Mobile Games”

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    Klab Cyscorpions has an office at the Fort and it exclusively develops games for the Japanese market. Kimi gave some statistics that Japan now is the leading market for mobile games in the world, surpassing the US. Part of the reason is an easier payment scheme. Of the top 10 games in Japan, he cited 3 common points: 1) Good graphics and sound 2) Marketing on television which could reach $1M to $5M  3) Large budget

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7) Mr. Miker Rivero of ABS-CBN Interactive – “Games for Filipinos”

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    Miker is one of the pioneers of gaming in the country; he showed the history of his works through the decades and how he started as a game developer/manager. At first it was trial and error where he experienced many ups and downs, some studios he worked for also closed down. He started in advertising, then went onto self-publishing and consultancy, until his current work. He gave some tips in new product design which should cover the following aspects: marketability, feasibility and originality. He is an advocate of developing a Filipino game that can be famous as some famous games. Game themes should be universal rather than localized.

8) Mr. Marnielle Estrada of IGDA Manila – “The Complexities of Game Development”

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     Marinielle showed how he solved some of the problems he encountered in developing his game. He began by saying art style is memory. 2D requires lots of images, which has double resolution which means 4 times the memory requirement. The solution is to use sprite tile based pixel art where each cell is 16 x 16, this saves a lot of memory usage.

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     Level design is a full time job, wherein one level takes an average of 3 hours to make his game has 30 levels. Level design is divided into 4 parts: 1) tile mapping – 30 minutes; 2) Compose enemy waves – 1 hour; 3) Testing – 5 to 10 minutes; 4) Iteration – go back to previous steps depending on your testing. The next challenge is difficulty – the combination of difficulty, assigning the values of difficulties – where he showed how to place different values on the program and see if it works.

DSC_6555 9) Panel Discussion

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    During the panel discussion, Mr. Alvin Juban mentioned that: “Game playing is for everyone but game development is for a chosen few.” The next day I tried to reconcile this quote with Senator Bam Aquino’s fearless forecast of generating enough manpower for the gaming industry. Game developing requires a very high technical skill set and this means expensive training and equipment. So I’m still at a lost of whether we can really create enough manpower and business in the succeeding years which is aggravated with migrating skilled programmers.

     The panel also answered the question of hiring with low grades. The panel was unanimous that grades are not that important, what is important is one’s portfolio, passion and what one does outside school. They are looking for what one can do, what skills one is developing and what one could develop. For one panelist, without a portfolio, an applicant is relegated to the bottom of the applicants. For another panelist, he just checks if one really graduated from college. Another hired a journalist major who had passion for game design and was an active gamer. For another a college graduate is not even required in his country – Finland.

October 4, 2014 – Summary of Topics Discussed

1) Mr. Mon Ibrahim of DOST-ICTO – Opening Remarks

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    Mon says that the gaming sector is the only sector where more money from the the government is not used by GDAP – there is still a surplus of funds. The CHED already approved a new university program last January 2014 called BSC in Entertainment Computing. The problem is where do we get the teachers to teach the required subjects? TESDA is already accrediting trainers for the multi-media arts. And the DOST with the University of the Philippines Information System has a four month program to enhance the skills for those already in programming in multi-media. In the  Asean, the Philippines is the third country to offer a formal college program for game development aside from Singapore and Malaysia. The government is trying to move from voice services to higher value services and enable to create Filipino content.

2) Mr. Norman Lee of De Lasalle College of St. Benilde – “The Game is Changing for Philippine Game Development”

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     Norman says in 2007 GDAP had 7 founding members and in 2014 there are now 28 core members. He estimates there are around 60 game developers in the country. The growth is due to a generation who grew up with games wanting to create games and the global market for games is growing. But there is a supply problem of technical skills, and this is where the CHED (BSC Entertainment Computing) and TESDA (Training and accrediting certified trainors in game development) are needed growth of the manpower to be accomplished. The key to change is education if there are more technical manpower, hopefully there will be more business in gaming, more foreign investors and finally big businesses in gaming coming in the country. However, he stressed that education should aim for quality education and not for profit.

     There are now trends in game development that shows growth in improvement. In the early days of game development it was mostly self-taught, now there is formal education. There are now game development contests in and outside college and the result is students are now placing high versus the industry professionals. The level of skill and knowledge of students is now at par and sometimes even better than the professionals in some cases. There is also a gamification of some traditional businesses.

3) Mr. Russell Tomas – Dreamlords Digital

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     As an indie developer, Russell aims developing games with the highest quality  since he started his company. He talked about the explosion of indie game developers as technology becomes more affordable, so there is an ease of entry in mobile and console game development. There will be new technologies in wearables, body motion, mind control etc. that will influence how we will play games in the future.

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     Russel says lack of money is not a limitation to be creative. He cited his case, where they were able to get $50K from Kickstarter funding. However, there are bad examples in the said funding, where some just steal the money, don’t finish the project either through mismanagement of the fund, underestimated the complexity of their game or lack of skill to push with the development. He said there are 3 people who worked on their current project which is a high quality game; he added that can you imagine if there were more people who will work on it.

4) Mr. Solon Chen – “Game On and We Got Games”

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     The Game On competition for college students started in 2011 and every year the rules are changed a bit to make the competition better, while the number and quality of entries are also improving. For the first time, in 2014 – 8 high schools with some selected student  were included to have a game development competition and their mentors are the college students. The students were required to produce a game for two days which includes a workshop, so the total time for actually developing a game is around 8 hours. The results were good, so Solon and Dr. Niña Sales of Informatics will continue  to improve the current competition.

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5) Mr. Erick Garaybas of Kuyi Mobile – “Game Development Stories: Epic Paint Adventure”

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     Erick has one goal and that is to make fun games. Since he has a game with millions of downloads, he could afford to experiment by creating new games. His goal in making Epic Paint Picture is not only for profit but to have a new learning experience. a) To understand the market, experiment with a lot of things and gather data. b) To find out if these kinds of games really make money. c) To prove that not all free games are out to get your money. d) To experiment with Application Search Optimization (ASO), monetization and other technical stuff. e) Conclusion: 5K+ daily users, conversion rate is great, tapped new market, experimental game, not my kind of game – many data, iterative game. If you have a new game – experiment.

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6) Mr. Sharan Balani of Quickfire Games – “Game Development Stories: Wild Season”

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     Quickfire is the first studio in the country to be funded by Kickstarter with seed money of around $60K. To get the fund, Sharan thought about nothing in the next 30 days. He promised a lot of features in the game, but there were no specifics. The money went to the development, marketing and business development and operations. Sharan says most developers just concentrate the funds on the development of the game and forgetting both the marketing/business development and operating aspects of the business.

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     In terms of development – how are you going to implement the engines, story art, and number of characters. In his case, it took 2 months to test the art work and features. In the business development side, he was lucky to have some contacts with Soedesco the developer of Resident Evil. In marketing, he used Facebook, Twitter, Instagram, Youtube and other social media outlets constantly. Operations consists of the taxes, payroll, maintenance etc. to get the growing business moving. One should anticipate the operating costs, as it will increase as the business increases.

7) Mr. Allen Tan, Managing Director of White Widget – “Game Development Stories: Face Mountain”

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    Allen started the company with a partner in 2013 and is self-funded. He balances services and independent content creation. In 2014, there were around 13 people in the company. The idea came about for Face Mountain when there was a brownout in the office and they have to go to a restaurant for lunch with their laptops. They talked about the need to develop their own game and Candy Crush was a popular game at that time. So they decided to do a matching game that they could do within a month but a polished game will take more than that time.

     The first idea was face matching “Match Your Face”. There were problems with the prototype like the photos were too small and the game too gimmicky. Initial changes include adding a mountain, use only one photo, static backdrop and tiles, movement of pictures. There was nothing special about the game, so they put faces on everything, the rocks, strawberries etc. except for the grass. They also changed the background as they were not happy with it. Designing the avatar was a long process with 36 different kinds of eyes. They narrowed the choice to 12 eyes and chose the weird looking one as it is distinct and became a staple in the game.

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     In mobile games, one cannot have all the good things, since each character to load was 20 seconds which was unacceptable. so they have to reduce the special features and find an acceptable limit. To improve the game experience, they have to reduce the mechanics as it was too confusing and the User Interface was too big.

     They plan to load the game on iOS late October 2014 but the initial plan to launch it was October 2013. This sounds familiar, and this is just a mobile game, compare that with a full season for animation which is a lot more difficult to develop and produce.

8) Mr. Bari Silvestre of Keybol Games – “Game Development Stories: Belial: Ars Demon”

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     Bari was a former factory worker and accountant, but his interest in game development enabled him to produce games that were highlighted by game magazines abroad. Even if his new game is not out yet, it is being touted as a game to watch out for by some industry writers. Bari uses Facebook to get some feedback for his upcoming game. With his new game he experience some ups like some friends helping him out for free and downs like a Japanese competitor  is also launching a game with a similar theme , or the word Ars is misspelled many times by writers and friends.

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 9) Panel Discussion

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    The story narrative is going to be important as there are more games around. One developer is relieved that he could always answer yes to the question do you have a story in your game? 

10) Dr. Beatrice Lapa of Senshi Labs – “From Mainstream to Indie Game Development”

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    Bea wants to create free educational games since she found the games she plays are boring. After some years with established studios, she shifted to indie game development. The difference between the two are: 1) Funding – sometimes one has to do a quick starting game to fund a game that one really like to develop. In her case she did Prologue in 3 months to do Book 1: Song of Pisces 2) Team size: Team vs one person – 1 person does everything. 3) Process. 4) Documentation – the documentation in mainstream is thick, while in indie is more spontaneous, and inspiration can can change the document, so she always carries a notebook. 5) Cost-benefit analysis – the budget has to fit so one experiences pressure in mainstream as the money is not yours. Her final words if you are thinking of going indie: What makes you itch? What do you desire? What sort of situation do you love to work in?

11) Team Animus – “Game Development Stories – Imagine Cup”

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     A team of 4 information system students from the De La Salle University with no game development experience made it the top ten finalist from around the world in the Microsoft Imagine Cup 2014 in Seattle, Washington. Their game is about using computers to make kids more fit. Their game design was for 4 to 7 years old, they gathered information about market preference, thought unique ideas based on the research conducted and executed ideas through applications. Their advice for aspiring Imagine Cup participants is think out of the box, never doubt your capabilities and be inspired and passionate about your project.

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Tokyo Game Show 2014

25 09 2014

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     The Tokyo Game Show 2014 was the biggest foreign event of the year that a representative (in this case Alstaire Sarthou) from Top Peg Animation attended this year. Since it was the first time for Alstaire, there were a lot of lessons learned in this event. According to Alstaire, this was the most organized event that he attended, especially when it came to business matching.

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     In a nutshell, if you have a service or a game to sell, there will be many serious inquiries. If you have a finished product – a finished game to market, there will be no shortage of distributors from Japan, China and other countries who are willing to market it in Asia, Japan or other countries – if they are interested in your game.  Aside from language difficulties, there are different cultural business practices in Japan that we are not familiar with. It will take some time to understand these differences, hopefully we could do business with our new contacts in the future. One Japanese distributor was interested in our mobile game “Crop Circle Warriors®”. He was interested to market it in the whole of Japan which he said was the second largest market after the US, but he wanted a finished product. So from this experience, aside from android, we also have to have an iOS program for our game, since Japan is a very huge market for Apple iphones. Other companies are looking for e-books, applications, 1 minute animation shorts all for mobile applications, since they want to put out something new every week or every month. With regard to content, aside from the animation and the mobile game to finish, I commissioned a writer to start writing an e-comic for the “Ultimate Crop Circle Warriors®”, I plan this will be online sometime second half next year. I think the e-comic will be very good, as I have a good concept for it and the writer is a good one.  The following are Alstaire’s experiences before and during the event.

Preparation and Briefing

     Sometime on the last week of July 2014, Grace told me that I was to represent Top Peg Animation & Creative Studio Inc. to the Tokyo Game Show 2014 on September 16 to 21 at the Makuhari Messe, Tokyo, Japan. It will be my first time in Japan and this was the second biggest game exhibition in the world after Canada, so I was pretty excited.

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   Makuhari Messe

     Based on the email exchanges with the Department of Trade and Industry (DTI) representative – Ms. Jojo Flancia; I learned that we were one of the seven local companies invited by the Asean-Japan Centre, DTI’s counterpart in Japan. These companies belonged to the Information and Communication Technology (ICT) sectors. We had two companies from the animation industry under ACPI – Top Peg Animation & Creative Studio Inc. and Toon City Animation Inc. Four companies came from the game industry (GDAP) – Funguy, White Widget, The Studio of Secret 6 and Team App (a.k.a Holy Cow Animation Studio game division), and one company from the software industry (PSIA) – Pointwest. 

     Each company will be having their own booth to exhibit their services and to conduct business meetings. Each booth will have a space for posters, a 23 inch TV monitor, and a table with two chairs. We will be situated at Hall 1 of the Makuhari Messe, together with other Asean counterparts named the Asia New Stars area. I was also sent the requirements, rules and regulations for the event. I learned that our airfare, hotel accommodations and transportation allowance would be subsidized by the organizers but I needed to book my hotel before August 15 via a booking website that was set up by the organizers. I also needed to set up business meetings on the first week of September via the Internet with the companies wanting to meet up with me using the Tokyo Game Show website.

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   10678821_586331298137434_6523635900132072716_n      Since this was the Tokyo Game Show (TGS), I didn’t want to only showcase our services in animation, but I also wanted to show that we have worked for game companies and we are currently producing our own games. I planned to make a new presentation reel showcasing our works in animation, game art and sample of the game play of the games in production. We have two games that already have a trailer and sample game play, via the Creative Collab Space. This was Grace’s idea where we could work with some artists who had game ideas and were willing to work with our animators and some intern programmers to make their ideas come to life. I also had the idea of making a game trailer for the “Crop Circle Warriors®” which is related to the “Jobert and the Crop Circle Warriors®” animation we are finishing. My idea was animate some game sprites for the characters then composite it together with a background, add some graphic interface elements and make it look like a finished game. This would give the potential clients the overall idea for the game as well as market the TV series. So when Edward called one time at the office, I told him about it and he agreed with the idea. Below are the sample of the two games we have shown at the TGS.

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Bloop Game

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Bloop Poster

      My problem was I had only a month to prepare for the trailer aside from the other responsibilities like teaching classes MWF, 9-11 am, finishing the animated series, supervising other projects ongoing at Top Peg. I also needed to design a poster for the booth, as well as prepare brochures and calling cards, have flash drives for marketing samples for serious potential clients. Although Grace had Edith and Tharine took care of the printing work, I still needed to design the poster.

     Last September 11, 2014, we had a participants’ briefing at the Center for International Trade Expositions and Missions (CITEM) where I got to meet the other delegates. Everyone was there except for Mr. Rene de Guzman of  Toon City (who was in Canada at that time) and Andrea and Juan Joseph of White Widget (who had a deadline at work). Ms. Jojo Flancia gave us some information about the event. 

     Last year we had 3 companies from the Philippines that shared a single booth, this year we have 7 companies with their own respective booths for free. Last year there were 300+ exhibitors, this year there are 700+. Last year there were 220,000+ visitors, and this year the expected visitors are 270,000+. We also learned that our airfare, hotel accommodation and transportation allowance would be given on the 17th in Japan.We were also given maps of our hotel, our itinerary and other details of the event. We voted Mr. Rene de Guzman as our team leader, even though he wasn’t present. Since he was the most senior and he had knowledge of the industry as a whole.

     Using the TGS 2014 website, I was able to book at Hotel New Tsukamoto, about 9 minutes by metro train (not bullet train) from the Makuhari Messe Exhibition Hall. I wanted to book at a hotel near the venue but unfortunately, all the hotels in the area of Makuhari were already fully booked. I was glad to know though that among the delegates, I was booked the closest to the venue. Jojo (CITEM), Danny (Team App) and Dinio (Secret 6) were booked at Hotel Soga about 15 minutes away and the rest from White Widget, Pointwest and Funguy were booked at APA Hotel, 45 minutes away by train.

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Metro Train

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Inside Metro Train

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Train Station

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Train Escalator

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Posters Beside the Escalator

        I also already booked my air plane ticket even though I didn’t have my Visa yet, because we were still waiting for some documents from the organizers, when I did receive them, I was able to get my Visa after 2 days from an agency in SM Southmall. It was fast, maybe because the organizers were from the Department of Tourism in Japan.

     As if on cue, my calling cards, the posters and the demo reel I was going to bring were all finished by Monday afternoon, and everything was ready and I was set to go the next day (September 16). Later that afternoon though, a client from Guam walked in and he needed a video for September 17, so I had to help finish the video which I did, but finished about 1 am. I needed to leave for the airport by 4 am because my flight was at 6:46 am. So I only had a 2 hour sleep before I left for the airport, so it was a bit hectic.

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Top Peg Brochures and Calling Cards

September 16, 2014

    At the PAL airport, I met Mr. Alfonse Anglioto, of Funguy, I learned that Ms. Jojo had to change her flight from PAL to Delta, so it was just us to board the PAL flight to Narita airport. The plan was to meet up at Narita at 2pm, then we would be picked up by a van, courtesy of the Philippine Embassy in Japan; then meet the other delegates at the first Japanese company we would visit. We arrived at 1 pm at Narita airport, where we first met Ms. Jojo and Mr. Hidehiko-san, who would be our guide. A few minutes later, Danny, Andrea and Joseph arrived. It was my first time to meet the guys from White Widget, and it was exciting to find out that Joseph would be wearing a costume for the 18th and 19th business meeting. We were shocked to learn that we didn’t have time to eat lunch because the distance to the first company was 2 hours away, our guide didn’t want us to be late because in Japan, some companies close at 5 or 6pm.

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Narita Airport

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Juan Joseph Wearing a Yeti Costume

     Our first stop was Pierrot, Inc., the company that produces Naruto, Tokyo Ghoul and Bleach. We were surprised to see that this big animation company still animated the traditional way, using paper and pencil. They only used computers for coloring. I was expecting that they would be using all digital tablets already. They said they are looking to transition to digital but they would be sacrificing the time for their production. We also noticed that there was no noise, no music, no talking. We asked the director if the artists were allowed to talk with each other, he said, not during office hours. We passed by a conference meeting, and the people were all whispering in the meeting. It was surreal, we jokingly said that a Filipino might not be able to survive in that kind of environment. We also learned that they knew of only 3 studios in the Philippines, TOEI, Fil-Cartoons and Philippine Animation Studio Inc. (PASI).

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Pierrot Studio

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     The next company we went to was Doga Kobo, an animation company that worked as a sub-contracting studio for TOEI animation since the 1970s. Here we met the young president Mr. Ryo Ishiguro and wacky Project Developer/Animator Hiramatu-san. Same as with Pierrot, they were also doing animation the traditional way. What impressed us was their library, they had Manga and magazines about Japanese animation from the 1970s. We were able to checkout a magazine that had Yamato (Starblazers) being introduced as well as robots Grandizer, Danguard Ace and Great Mazinger. Their oldest issue was 1978, but Voltes V and Masinger Z were older than that year, so we were a bit sad not able to see copies of  our favorite robots. As we were looking at the magazines, we were transported back in time as we were reminiscing our childhood. They also had an area for acting, they had props to simulate scenes so they could visualize it when they draw. We also learned that they have been outsourcing to Indonesia and Vietnam. We asked them why they didn’t outsource to the Philippines. They said that they didn’t know that there was an industry in the Philippines, but now they know. We are hoping that we could change their perceptions in the next few days.

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     After the tour, we went to Makuhari Messe to do reconnaissance. We needed to know how far from the station was the venue, as well as how many minutes we needed to travel from our respective hotels. But before doing anything, we wanted to know the closest place where we could eat, after the tour we were all very hungry. We went to a ramen place, and we were excited for our first authentic ramen. The first thing we noticed was the price. The cheapest order for ramen was about 600 yen or P264, the picture showed it had pork, veggies and noodles. The price was for a small size, as it says in the picture, there was a medium and large version also. We had to order via a vendo machine where there were pictures corresponding to the prices. We ordered by placing money in the machine and pressed the button of our order. Then we had to answer some questions from the waiter, it was a good thing that our guide was there to translate. The waiter asked what flavour of the soup we wanted, garlic soy or Misu. I chose Misu,then he asked what topping we wanted. He showed 12 kinds of toppings, as I was choosing, he said we can choose all the toppings for the same price. And so we chose all the toppings. After a few minutes, we were surprised that we were served a big bowl of ramen. It was 4 times the size of a bowl of noodles in Chowking. We learned that a small, medium and large size was not referring to a bowl size, but to the amount of veggies (Mung bean sprouts) that would be placed with it. The soup was good, but with all the toppings (mine had cheese, soft boiled egg, chili sauce, bonito flakes, nori and some mayonnaise) it was really rich, that I wanted some bread with it. None of us was able to finish our bowl. Some of us didn’t want to have ramen ever again.

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Makuhari Messe

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Ramen House

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All-In Ramen

     After dinner we decided to go back  to our hotels. We learned that we needed to meet up the next day at 6:30 am at Makuhari Messe, because we had a courtesy call at the Philippine Embassy at 8:30 am. The travel time from the venue to the embassy will be two hours by van. I reached my hotel at 10 pm. The room was small but had a fridge, 23 inch TV, a toilet and a tub. The toilet bowl had a digital handle to the right that had buttons that heated the seat, turns on 2 types of sprays with a control for the pressure for the spray. Wow! I also had a Kimono in the bed instead of a robe. The view was just another hotel across the street. After quickly checking all the Japanese channels, I immediately went to sleep.

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View from the Hotel

September 17, 2014

     The alarm didn’t sound off…it was 5 am and I had to hurry. Thanks to Niño, a young Japanese interpreter who accompanied us yesterday told me about the train schedule. Niño is married to a Filipina who works at the Philippine Embassy. I needed to take the 6:09 am train to make it at the appointed time at 6:30am at Kaihim Makuhari. After a hot bath and no breakfast, I was at the train station at 6:00 am. The train was right on the dot and everyone was there already at the station. We all went to the nearest convenience store for some bread and coffee, and at exactly 6:30 am the bus arrived.

       Our first stop was a courtesy call at the Philippine Embassy, which was based in Ropponggi, a place where most Filipinos hangout.  The drive was 2 hours away from Kaihim Makuhari. When we got to the embassy, we noticed that the Embassy building here was really big and very nice. Rene de Guzman said that it was bigger than the embassies in Singapore and Canada. Here we met Ms. Dita Angara-Mathay, Commercial Counsellor at the Philippine Embassy. We also met Niño’s wife, but I can’t remember her name, nor was I able to get her calling card. Ms. Dita told us how important this event was for them and for the Asean-Japan Center as well. We were shown a clip of how big game development is in Japan. There were lots of opportunities that was open for us and she told us to make the most of it. After a few minutes, Ambassador Manuel Lopez arrived and gave some encouraging speech for the group. After a few pictures, everyone was lively and pumped up for our tour.

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Bus to the Philippine Embassy at Makuhari

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At the Center Ms. Dita Mathay and Ambassador Manuel Lopez 

     The first company we went to was the Creek & River Co., Ltd. When we reached the lobby of their office, it was corporate looking, the same as some agencies here in the Philippines. We met Mr. Yamada, who then led us to the back door of the building then out into the street. We walked about 5 minutes to another building and then to a large area with a lot of conference tables, this is where we had our meeting. What we learned about the company was that they were called a Creator Agency. Mr. Yamada said that they have 60,000 clients in their library and about 1,000 projects in production. Basically what they do is offer the creator support to help finish some of the projects. In their library of creators and services, they handle TV, movies, advertising, web, e-books, publications, games, on-line videos and exhibitions. We learned that this was one big company.

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     Our next stop was the Digital Works Entertainment, where we met Mr. Yoshio Higuchi, the CEO. I remember that we met Mr. Higuchi in Manila last May 19, his company was one of the exhibitors then. Basically, they handle animation and game development. It was a laid back office, not as big as Creek & River, but Mr. Higuchi had some nice things to say. He said, from what he saw, the Philippines had the talent and he wanted to tap that talent. He explained to us that his company is willing to be the middle man for the Philippine companies to Japan. He also explained that the system in Japan is very different from the US. The Japanese don’t believe in contracts when doing business he says, they rely on TRUST. So if we will be doing business in Japan, we should follow this system. This made most of us reluctant, because we know if we do get into a partnership with a Japanese company, we would be dealing with large amounts of money. We were all enthusiastic though that his company was willing to help us negotiate with other companies. This might be the door to finally break into working with Japanese companies.

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     After the tour, we went back to Kaihim Makuhari for the orientation proper of the Tokyo Game Show. We were 15 minutes early when we got there, so we ran to the nearest restaurant for lunch. Others went for Pork Katsu Curry, again a large plate, while I searched for something familiar. I saw some rice topped with braise pork, a also a large bowl but I knew it would be good. After quickly devouring our food, we went straight to the orientation at the Green Hotel. We met the other mission members from Asia. We learned that each country had 5 invited companies, except for Malaysia which had 10. Brunei was only able to get 2 companies to join, so the Philippines was able to add two more companies to join the invitation from the original 5. 

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     Orientation at the Green Hotel

      We were given our exhibition tools like the schedule, badges and brochures for the event. We were also told that we had to be at our booth at all times, and we should attend all the scheduled events that was prepared for us. If we missed any of these, they will ask us to return the subsidy that would be given to us. After the orientation, each company was called so we could receive the subsidy given in an envelope. After this, we went to the Makuhari Messe to fix our booths. It will be our first time to go in the venue, and the first thing we noticed was how big it was. As comparison, it was like 3 times the size of the SMX Exhibition Hall in the Mall of Asia. 

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     Our booths was the same with all the mission members. I was prepared for decorating, I had 2 posters made to the size of the panels and I had double sided tapes prepared. When I finished decorating, I am happy to to say I had the best looking booth from the Philippine delegation, and maybe for all the Asian New Stars area. One thing the other booths had though was playable games loaded into iPads that were place on stands for the visitors to test.

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           Top Peg Booth (right)

     At exactly 5 pm, they announced that the exhibition hall will now be closed. All of us Filipinos then went to a nearby outlet store to window shop and check out what we could buy. We also had our first Tempura meal, which was probably our best meal since we arrived in Japan. After a few walks around Makuhari, we had some popsicles from a convenience store. We then went our separate hotels via the Metro train and some via taxi.

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Tempura Meal

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Popsicles

September 18, 2014

     I had my first breakfast at the hotel. It was a small buffet which offered Misu soup, Japanese rice, noodles with bacon, sausages, scrambled eggs and smoked fish. There was a salad bar, that had mostly vegetables and a drink bar where one can have different hot and cold drinks. After breakfast, I went straight to the venue. When I got out of the train station, there were some girls in costume giving away plastic bags with anime characters and some leaflets of the different companies participating in the Tokyo Game Show.

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Train Crowd During First Day of  the TGS

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     After a 10 minute walk, I was able to see the big awesome booths of different game companies. I was able to to get some brochures, fans, eco-bags and a few souvenirs for me to bring home.

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20TGSIngress6_zps09b990ba          Being the first day for business matching, we were all able to meet some big companies, from Pachinko companies looking for content for their machines to big animation companies seeking to outsource to the Philippines. Doga Kobo, the company we visited when we arrived, visited our booths and this is where we really talked about what they needed and it was nice to hear that they were really interested and plan to visit the Philippines as soon as next month.

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At the Booth

     I was able to talk to 16 potential companies, and most of them were interested but only had one concern – communication. I assured them that we have some Japanese partners here in the Philippines that could help mediate between our companies. They were happy to know that and they were excited for us to follow up on what we have talked about.

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Philippine Delegates

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Philippine Delegates

     Seated from left to right: Ms. Kicks (Filipina visitor based in Japan), Jojo Flancia (CITEM-DTI), Andrea Levigne (White Widget)

Standing from left to right: Dani Montano (Team App/Holy Cow), Juan Jose Joseph (White Widget), Joey Balderas (Toon City/Morph Animation), Raymond Posadas (Pointwest), Alfonse Angliongto (Funguy), Dave Aguila (Pointwest), Dino de Guzman (Studio of Secret 6), Alstaire Sarthou (Top Peg Animation Studios Inc.), Rene de Guzman (Toon City/Morph Animation) 

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     During lunch, I would go to the farthest convenience store, so that I could see and photograph the different booths at the show. I ordered a small take out box, with 3 triangular shaped rice, with some meat toppings, together with a small sausage, small chicken, scrambled egg and potato katsu. It was cheap and filling, even for a small meal. After lunch, I would pass the different booths again. This was the only way I could go around, since we weren’t really allowed to leave our booths.

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Lunch

     After 5 pm we were then invited for dinner at Ms. Dita Mathay’s house. We were all excited and we were expecting that we would be able to sleep in the van, since were all standing at the booth for the whole day. We were surprised that our guide – Mr. Hidehiko-san led us to the train. We would be commuting to the Philippine Embassy. The people from Doga Kobo were invited as well and it seems that all the companies we visited during the first 2 days will also be there. It was an hour and 30 minute train ride to Roppongi and then a 30 minute walk to the embassy, where we picked up Mr. Yamada of Creek & River. Then it was another 10 minute walk to the house of Ms. Dita. Although we were really tired, our walk was fun as we got to know Mr. Hiramatu-san from Doga Kobo. He was really a funny guy, and he tried his best to communicate with us using his phone and google translate. His boss, Mr. Ryo-san, we learned knew how to speak a little English and understood what we were saying, but he was shy to admit it. We learned that the Japanese, even if they know how to speak some English, were not confident enough to admit it. 

      At Ms. Dita’s lovely house, we were able to meet other Japanese who were invited to this occasion. Her house was set up with 2 dinner tables where we were served like in a fine dining restaurant. We were first served an appetizer, Sinigang with bite size cuts for vegetables, some wine and beer. Next was the Entrée, a bowl of rice, chicken pork adobo and fried cream Dory in tausi. some of us ordered extra rice, which Mr. Hiramatu-san copied. He says the food was very good and Filipinos love Oishi! We were then given our dessert, leche flan and sorbet. Overall the mood was light and fun, and we got to know more of our new friends. Everyone exchanged Facebook pages, and we gave invitations to our new friends to visit us in the Philippines.

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Miss Dita’s Place

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     After some picture taking, we then went back the same route. A long walk and a long train ride. Before riding the train though, I needed to charge my Suica card (cash card for transportation and other store establishments) . I apparently placed it in the wrong machine, including a 1,000 yen bill. It was a good thing Mr. Hidehiko-san was still there. He knocked at the machine and we were all surprised that a small hole in the wall opened. There was a person at the back of the machine, his arm went out of the window and gave me my card and money back. He then pointed to where I needed to charge my card. Everyone was laughing because who would have guessed that there was a person behind those machines.

     Back at the hotel, it was 11pm already. Exhausted, I was still able to Skype my love ones at home before finally going to sleep.

September 19, 2014

     At the Makuhari Messe at 9:30 am, the second day had more people but most were small independent studios. I was able to talk to only 9 prospective clients and most were from Asia, one from the US and another from France. Only a few Japanese companies talked to us this time. I had some meetings that I scheduled via the appointment system arranged by the organizers. Since the meeting place was at the other end of the very large hall, it would be a bit of a hassle just to meet each one at different times. I was able to inform them the night before just to meet me at our company’s booth.

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Business Meeting Place at the End of the Hall

     I had the same lunch as yesterday, but I’m not as fond of it as yesterday. At the closing time, we had to take our booth decorations down, since our schedule was only for two days. We also took down our company’s sign that was provided by the organizers. We were then invited for an after show party called the Sense of Wonder party. All the exhibitors were invited, so we had a few finger foods and after a few minutes we were all back again at the outlet stores. The other delegates were able to buy some stuff, I on the other hand just waited for them, since I had plans going around other places in Japan. We then had dinner again at the Tempura joint and after that a few strolls and we went back to our respective hotels.

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September 20, 2014

     This was the first day that the TGS was open to the public. Plenty of cosplayers and also new booths that took our place in the hall. Sadly, this was also the Networking Luncheon day. When I arrived at the train station at the Makuhari station, there was 10 times the crowd from yesterday, the people coming out of the train was really a lot. And the flow of people didn’t change for many minutes.

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Crowd at the Train Station

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Cosplayers

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     I arrived at the International Conference Hall at 9:40 am…I wasn’t allowed in since the presentation would start at 10 am. They were really sticking to the time. First the Asean Character Award was presented. The best character was awarded to Bloody Bunny, a 10 year old character in a flash web series from Thailand. Later on 6 out of 19 companies invited would present their companies to us. The rest of the companies then would meet us at the Networking Luncheon. We were able to get a few contacts here, hopefully some of them would be seriously interested. Ms. Dita and her husband also visited us at the Networking Luncheon. 

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Company Presentation

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Networking Luncheon with Ms. Dita and her husband

     Ms. Dita asked for a meeting to check feedback from us. During the meeting we told Ms. Dita that other companies in countries such as Malaysia and Thailand is that their government subsidizes money for the buildings and equipments that the Japanese companies needs. The budget of the Philippine government is not that big, so we can’t compete with the others in those areas. At the meeting from the presentations, we learned that the Japanese want to get into the Western market. We mentioned that the Philippines has outsourced to the the US and other Western countries since the 70s. This info piqued some interest from a few people there, at least we had a tagline. The networking ended at 3:30 pm and we were told its a free time. 

     The free time was an opportunity to go around Tokyo, so we all agreed to stay together to tour the city. Our first stop was at the Akihabara or Electric City. From Makuhari we needed to get off Tokyo, then transfer to another train to Akihabara. We got to see computer shops, toy shops and arcades. These shops were housed in 5 to 7 story buildings. We then decided to go to another area – Shibuya, the place where the famous intersection we  often see in the movies was located. We took some pictures here then we decided to have dinner. Some went to a Tonkatsu restaurant, and the othesr went to a Ramen house. I on the other hand, had already a McDonald’s hamburger with Wasabi Mayo, a few minutes earlier while walking. We were then able to catch the last train ride back to our hotels.

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Shibuya

September 21, 2014

     I had the same breakfast meal, then I checked out from the hotel since I will be staying with my aunt that night. She would take me around as she promised. I was supposed to meet the other delegates at 9 am at the train station, since most of the delegates planned to fly home this day. Some of us planned to meet here and take a a last look at the TGS before going home. When I got to the meeting place, the crowd was really huge, even larger from yesterday. I couldn’t find the others and the line to the TGS was really massive and was not moving.

     I decided to leave the place and just meet with my Aunt instead in Ueno. Here is where I learned to use the rental lockers around the city. I was able to leave my stuff at 700 yen, while I met my relative in Japan. We went around Akihabara, this time I was able to get around more and since it was Sunday, the roads were closed for shopping. We then went to Asakusa, where the temple with the giant lantern was located. All the stuff at Asakusa was expensive, because there were lots of tourist in the area. My Aunt treated me to the Royale Hosts, where the food was good. I was able to ride the Monorail towards my Aunt’s home, where I stayed for the night.

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Akihabara

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Asakusa

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Monorail at Nippon Station

September 22, 2014

     From my Aunt’s house, we shopped at the nearest mall in the area, where we took lunch at the food court. Then we went back to her house. We took the bullet train to the airport, where it only took 30 minutes. When we got to the airport, we were shocked to learn that the plane was delayed for 4 hours. As compensation, PAL gave me a food and dining coupon worth 1,500 yen. My Aunt and I had some nice food at the restaurant in the airport. I boarded my flight home at 7:20 pm and arrived at Manila at 11:40 pm. 

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Bullet Train

     I am very greatful to all the organizers of this event for making the business matching mission a success. From both the Japanese and Philippine government side, all made great efforts to see to it that the participants are well taken care off and make the trip worthwhile. The Japanese companies were also very accommodating despite some language barriers. The whole experience was really great and fun.  I can’t wait to be invited again to the Tokyo Game Show next year. 

     Statistics for the Tokyo Game Show 2014: Second largest total number of visitors – 258,832. Record high number of exhibitors: 421 companies/organizations from 32 countries/regions. Number of exhibiting game titles: Record high of 731

September 30, 2014

     Last September 30, all the Philippine delegates to the Tokyo Game Show (TGS) were scheduled for a debriefing. Initially, the meeting was supposed to be at the CITEM office, but Mr. Rene del Rosario invited us to have the meeting at Toon City Animation Studio. The people in attendance were Rene del Rosario and Joey Balderas of Toon City, Dino de Guzman of the Studio of Secret 6, Alfonse Angliongto of Funguy, Dani Montano of Team App/Holy Cow Animation, John Joe of White Widget, Ms. Jojo Flancia of CITEM/DTI and myself.

     Dani Montano was kind enough to burn DVDs of all the pictures he took at the TGS and gave everyone a copy. First, Rene gave us a tour of Toon City, and I was surprised at how big the changes were from the last time I was here which was way back in 2007. Toon City is entirely digital now and a third of the size it was before, but it still had the same amount of production. We were even joking that Toon City was far more advanced than the animation studios in Japan. We told Rene that they should conduct a tour when our Japanese friends makes a visit to the country. Our host then invited us for lunch in the conference room, where we were served sumptuous food from Amber.

     Jojo then gave us number like who had the most inquiries. According to her, this was the delegates’ ranking according to the number of inquiries (this ranking is only accurate according to my memory but I am sure about numbers 1,4 and 7). 1) White Widget – they had a finished game, 2) Team App/Holy Cow Animation – they also had a finished game, 3) Toon City – lots of inquiries for animation services, 4) Top Peg Animation Studio Inc. – again animation services, 5) The Studio of Secret 6 – a game development studio but they couldn’t show finished games because of their non-disclosure agreements, 6) Funguy – a game development company with the same dilemma as Secret 6, 7) Pointwest – a software developer …they had inquiries but not as much as the others. So to be really noticed here in the TGS, you really need to have a finished product.

     Our first feedback was the location of our booths, we were expecting that our booths being in front of the entrance of Hall 1 we would be having traffic come to us first. We were surprised to learn that the doors open to the crowd from Halls 4 and 5, so we were like in the farthest corner of the hall. Next our booths were really generic booths, that it was hard for the crowd to even notice us, unlike the booth of Taiwan which had a larger generic booth, but with a large sign that read “TAIWAN” on top of the booths.

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     The entrance for Hall 1 was opened to the public during Saturday and Sunday, but that time our booths were already taken down. We then asked why we were only allowed to have the booth during the business days, which was Thursday and Friday; as it would have been good for the public to also see what our country has to offer. In fact some companies that we communicated with via email were asking if they could visit our booth during the Public days.

     Next, we learned that Japan has been outsourcing to Indonesia and Vietnam already, where in my opinion we are way ahead in terms of animation than those countries. We in fact asked why weren’t they outsourcing to the Philippines. the reality is, they don’t even know we have an industry of Game Developing and Animation Services here. Another thing we learned is that these countries had middle men – Japanese representatives who knew of those countries culture to mediate between the Japanese Companies with their own companies. “Japanese aren’t very confident in speaking English and will, sometimes deny that they know how to speak the language even though they can speak it.” This was according to a French guy we met at the show, who was conducting research for a French company.

     A good thing that happened during the show was the delegates helped each other when an inquiry wasn’t the forte of one company. They would forward the inquirer to other companies who are able to entertain the inquiry. This was noticed by the Asean Japan Center and the DTI. Good points for us, although some of us really were not prepared. Some companies lacked decorations, demo reels, brochures…because of different deadlines in each company.

     One point was brought up is that we could have one look for all our materials, like calling cards and brochures and maybe we could market our country as a whole. Jojo brought this up as this was done with the XDS (External Development Summit) in Canada, where we also had a delegation last September 2014.  She showed us the brochures from that show, but all of us said that the brochures looked too corporate, had business looking colors and too much information that the fonts were really small. It looked boring to read, a suggestion was to make our booth, calling cards and brochures FUN. Since the Tourism’s office motto was “It was more FUN in the Philippines”. Why don’t we hold a contest for graphic artists, illustrators, interior designers or architects  to design a Philippine boot, the brochures and the calling card. And then we could also put the name of the winning designer in the booth and the materials. It was really nice to see everyone giving suggestions to help make the Philippines’ next visit to the TGS a lot better.

     We all promised, that if we were invited again next year, we would be better prepared and we would have finished games to show. Jojo then told us that the Asean-Japan Center and the DTI were very happy with the outcome of the show, and that there was a big chance that we would be invited next year again. In fact the good news was, more companies would be invited and hopefully instead of sharing booths with other countries, we would have our own “Philippine Booth”. To summarize: 1) Booth location is a big factor to gather more inquiries, 2) A middle man is needed, a Japanese who knows our culture, to mediate between our country and Japan, 3) Market the country as a HUB for animation and game developing by consolidating the designs of our materials as one, 4) Be better prepared with materials (demo reel) and have a finished product to gain more inquiries, 5) Hold a contest for designers to create a look for our booth including materials such as brochures, calling cards and posters.








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