Many animation lovers and future members of the industry have a memory in common: The moment of emotion, the specific movement of an animated character which made the ink and paint (or computer generated) being feel truly alive on the screen. Animators at studios around the world have made it their mission to hone this ability to bring drawings to life, including today’s profile subject Prashanth Cavale.
Hailing from Bangalore and now based in Los Angeles, Cavale has been a character animator at the celebrated DreamWorks Animation studio for over a decade, working on projects such as Penguins of Madagascar, Trolls and Trolls World Tour, Kung Fu Panda 3, The Bad Guys and Puss in Boots: The Last Wish. He is currently nominated for the Annie Award for character animation as lead animator on Ruby Gillman, Teenage Kraken. We recently had the chance to ask Cavale a few questions about his career journey and what lies ahead:
Animation Magazine: Can you tell us a bit about your background in animation?
Prashanth Cavale: I am a character animator with over 14 years of experience in animated features and VFX movies. I have contributed in capacities such as supervisor, lead and senior animator on renowned franchises like Kung Fu Panda, Madagascar, Puss in Boots, Trolls and Paddington, among others.
After starting off as a generalist in 2004, I did the diploma course in AnimationMentor during 2007-08, and my breakthrough came in 2009 when I joined the DreamWorks India Unit. For eight years, I played a significant role in various projects that included feature films, television and DVD specials which expanded my expertise. In 2017, I ventured to London to explore VFX animation with Framestore, broadening my skill set.
Late 2018, DreamWorks Animation presented an opportunity to join them in the U.S., and since then, I have been an integral part of the animation team in Glendale. With a focus on feature animation, I have 13 movie credits to my name.
Working with DreamWorks Animation has exposed me to a diverse range of animation styles, enriching my creative sensibilities. My notable work on Puss in Boots: The Last Wish garnered recognition, earning me a feature on CNN.com. As a proud member of the esteemed Visual Effects Society (VES), I am honored to be associated with top professionals in the animation community.
My recent nomination for the Annie Awards 2023, acknowledging my work on Ruby Gillman, Teenage Kraken, is a source of great pride to me and I eagerly anticipate engaging in more exciting projects on the horizon.
When did you know you wanted to work in animation?
Coming from Bangalore, a vibrant city in Southern India, I graduated out of engineering in 2003 and since my final year project was design oriented, it exposed me to three-dimensional art and its creative side which made me enroll for a course in 3ds Max. Within a few months, I found myself immersed in the captivating realm of 3D space and the limitless possibilities it offered for crafting immersive worlds and compelling narratives. The seed of passion had been planted, and computer graphics began to feel like home.
Around this time, I was also awestruck by Pixar’s golden run of movies during the early 2000’s and I was constantly fascinated by how the characters emoted and moved around in three-dimensional space. It is at this point that I realized I wanted to work in the animation industry. Following four years of working as a generalist, I transitioned towards specializing in character animation. The intricate task of making characters and objects convey authenticity through their emotions and movements adds an extra layer of challenge that I still find irresistibly engaging. The puzzle-solving aspect that is deeply ingrained in the process of animating is a fascination for me, and is the driving force behind my decision to pursue a career in character animation.
Where did you study?
I studied Character Animation at AnimationMentor during 2007-2008. I also hold a Bachelor’s Degree in Mechanical Engineering from MSRIT Bangalore – India.
What was your first job in animation?
My first job as an animator was at the DreamWorks India Unit, which was a division of Technicolor. I was very fortunate that this unit was in my hometown Bangalore and it made all the more sense for me to really pursue it. Thankfully I made it into the team in 2009!
DDU [DreamWorks Dedicated Unit], as it used to be called, seamlessly mirrored the infrastructure, equipment, and work culture present in Glendale, offering me a consistent and enriching work environment for an impressive eight-year tenure. Commencing with TV/DVD specials, our journey gradually evolved into handling substantial portions of feature films such as Madagascar 3 and Puss in Boots.
A pinnacle in our achievements was reached with the Penguins of Madagascar movie, where 80% of the movie was executed in India. The unit continued contributing across all departments for subsequent DreamWorks features until the company underwent a transition with its acquisition by Comcast in 2016.
What do you love about the current project you are working on, The Wild Robot?
Adapted from the bestselling novel by Peter Brown, this film is perhaps the most emotionally resonant project I’ve had the privilege to contribute to. Collaborating with the legendary Chris Sanders has been an enriching journey, and the meticulous attention he puts into narrating a heartwarming tale, supported by an exceptional team of artists and production staff, makes this experience truly special. I am loving every moment of it!
Although I can’t divulge much about the movie at this stage, it releases later this year on September 20th and I’m sure the audience are gonna love it!
What are the biggest challenges?
With shrinking timelines, animators have to reinvent themselves to be more efficient with every passing project to make sure we keep pushing the boundaries of quality while keeping up with the pace of the project.
Despite this being the scenario, I always strive to find that extra bit of richness in what I do. It could be the way a character is emoting, adding an idea to enhance the shot or an unexpected choice in the shot to go along with the narrative. While success may not be guaranteed every time, it’s the very challenge that propels and motivates me forward.
What’s the best advice you ever got about working in animation?
“You are only as good as your last shot.”
I can’t remember who mentioned this to me, but having worked in the industry for quite a few years, this always resonates with me and keeps me on my toes to strive better every time I begin a new assignment.
Who are your biggest animation role models?
Like many, I’m a huge admirer of Hayao Miyazaki’s visionary storytelling and artistic brilliance. His ability to seamlessly blend fantasy with reality, exploring themes like environmentalism and courage, has a timeless charm to it. Also his commitment to hand-drawn animation and preserving traditional storytelling magic is something that I really respect.
Big fan of Genndy Tartakovsky’s unique visual style and engaging storytelling, as well as Brad Bird’s remarkable ability to infuse depth into his narratives. These filmmakers are my idols in the realm of animated filmmaking!
What’s an animated movie or TV show that made a big impact on you growing up?
Growing up, my favorites were Jungle Book: The Adventures of Mowgli (Japanese series) and He-Man and the Masters of the Universe. Back in India during the early ’80s we had limited access to animated series and these shows along with their characters left a lasting impact on me.
When it came to movies Lion King was my favorite, and I remember tearing up in the theater watching it.
Many of my favorites are also from the 2000s — Spirited Away, Howl’s Moving Castle, WALL-E and Kung Fu Panda, to name a few. Avatar: The Last Airbender was a favorite series of mine around that time and I recently rewatched all of it with my daughter who loved it as much!
What are the most important things to study in college if you want a career as an animator?
Mastering body mechanics is crucial for delivering a convincing character performance. Without a solid grasp of mechanics, the character’s acting may lack authenticity.
As students, our choices often tend to be extravagant, sometimes missing the essence of the shot’s intended communication. Learning to filter and simplify ideas while maintaining entertainment value is essential.
Considering the visual flow is another key aspect. It’s about leading the viewer’s eye. For instance, toning down a secondary action might be necessary to ensure the focus remains on the character’s face.
Varying transitions and timing between beats adds texture and avoids uniformity and is a great practice.
Lastly, it’s important not to fall into the trap of doing things for the sake of ‘animation’. I remember my mentor pointing this out to make my animation less ‘contrived’
While in college, It’s also good practice to develop soft skills, to make contacts and understand how the industry works and to make you better prepared for the job market.
How do you feel about AI in animation?
In support of AI, a lot has been said about how the animation industry has been embracing major changes as it transitioned from its 2D days into 3D and subsequent advancements over the years. My concern is that, the ‘human brain’ and its approach to movie making has remained the same all these years, it’s only the ‘tools’ that evolved. With AI we are talking about an ‘artificial brain’ that can make decisions. Even though it may not seem as much of a threat for now, I fear it will eventually snowball into something more ominous for all creative jobs.
Having said this however, I think there are definitely ways to use AI in animation. I believe AI should be used by companies to relieve artists of the monotonous tasks so they can concentrate more on the creative process. A lot of the laborious ‘housekeeping’ tasks like tech fixes, issues with ground contacts, character interactions/interpenetration and shot continuity could benefit from AI. There are times when certain errors slip through the cracks when a shot flows between departments and developing a proprietary AI tool can really come in handy in identifying and avoiding such pitfalls. I believe it can also be intelligently used in production forecasting to make necessary calls to aid the flow of inventory, etc.
What are your future plans?
At some point in time this year I want to pursue a couple of short film ideas I have in mind to see where that takes me. In general, I want to study filmmaking to expand my understanding of storytelling. There are a couple of courses I have enrolled into to further my understanding of anatomy, gesture drawing and also caricaturing.
I’m at a stage in my career where I’ll need to unlearn a few things to make space for new things, so the focus is gonna be on learning!
Prashanth Cavale is currently working as a lead animator on DreamWorks Animation’s upcoming feature, The Wild Robot, opening in theaters through Universal Pictures on September 20. You can follow him on X @CavalePrashanth.
