Celsys

OLM Asia is a Malaysia-based animation studio and the seventh company in the OLM Group, which creates 2D animation, 3D animation, and VFX for countless shows including the well-received “Pokémon” series.

We have also expanded our horizons by producing TV shows and films for the global market, and we continue to delight and move animation fans across the world.

Japan is currently facing an aging society, with the population decreasing by 400,000 each year. Although the anime industry has valuable skills and knowledge, the current situation leaves them with no successors, especially from younger generations. In light of this, we turned our gaze to not only Japan, but overseas.

We chose Malaysia due to its use of English as a common language and its high educational standards. Here we established a studio to maintain the quality of Japanese animation and preserve our skills and knowledge. 

The biggest reason was the cost. We also like the affinity that Clip Studio Paint has with the traditional, paper-based workflow that has been refined over Japan’s long history of animation.

We use Clip Studio Paint for television series including “Pokémon the Series: Sun & Moon”, “Yo-kai Watch”, “Beyblade Burst Turbo”, and “Cardfight!! Vanguard (2018)”.

While we currently use Clip Studio Paint for the animation process and Paintman for the finishing process, we would like to start using Clip Studio Paint in our keyframe process as well.
 

We’d love to see a fill tool that overfills the lines, multi-cel painting, and a light table feature that’s closer to Paintman. More finishing tools would be nice as well.

Also, as a minor problem, when switching cels while using a light table, we have to manually re-select the previous cel. I think CLIP STUDIO PAINT could become an even better software if these minor issues could be fixed and audio functions can be improved.

[Note: As of the November 2018 update, the light table feature was adjusted and audio file compatibility was added.]
 

I really enjoy using Clip Studio Paint. It’s very responsive, lightweight, and has an intuitive user interface. I also like that I can both animate and illustrate using the same software.

I first learned that OLM Asia was looking for animators to work at a new office at their Comic Festa 2017 booth in Kuala Lumpur, Malaysia. After that, I became interested in Japan’s animation industry and decided to work at their studio. My final goal is to become an animation director.

With the digital era of animation, physical limitations of distance have disappeared. This was another reason that we decided to expand overseas. 

We hope that OLM Asia grows to not only work as a studio for outsourced animation, but a fully-fledged contract studio at the same level as our Japan headquarters.