Shanghai Animation Film Studio is one of the studios I am most interested in within Shanghai’s commercial and artistic animation sector. Although it is historically known for classic works, its recent collaborations—such as producing the Danqing Season promotional materials for Infinity Nikki—show that the studio is actively involved in contemporary commercial projects while maintaining its unique artistic identity. This combination of tradition and innovation makes it a strong reference point for studying professional practice.
Industry Sector & Studio Direction
Unlike fast-paced commercial studios, Shanghai Animation Film Studio operates at the intersection of artistic animation, cultural storytelling, and selective commercial collaboration. Their work is defined by stylised visual language, hand-crafted aesthetics, and culturally rooted narratives. This aligns with my own interest in stylised and expressive animation rather than purely production-driven pipelines.
Their participation in Infinity Nikki’s Danqing Season demonstrates how the studio adapts its traditional ink-painting sensibility into modern promotional design. This showcases a workflow where concept artists, 2D animators, and visual designers translate cultural aesthetics into high-quality commercial imagery.
Professional Role: Character Animator & Visual Development Artist
At a studio like SAFS, animators often combine responsibilities across character animation, visual development, and style-driven motion design. Typical tasks include:
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Creating stylised character poses with clear silhouettes
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Designing motion informed by traditional Chinese visual rhythms
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Collaborating with painters and concept designers to maintain a unified artistic tone
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Producing short animated sequences for promotional work
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Ensuring cultural and aesthetic consistency across assets
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Integrating 2D and 3D elements depending on project needs
Compared to standard commercial animation, the emphasis here is on artistic integrity, cultural expression, and handcrafted feeling.
Professional Practice Insight: “Yao—Chinese Folktales”
My interest deepened when I researched SAFS’s involvement in Chinese Folktales. The anthology demonstrates diverse visual approaches—ink painting, puppet-like motion, stylised 2D timing—and each episode shows a strong director-led workflow. Animators work closely with small creative teams, focusing on expressive posing, strong atmospheres, and unconventional timing choices.
This indicates a professional environment where:
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animators have more artistic input,
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visual style is prioritised,
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experimentation is encouraged,
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and cultural interpretation shapes the animation.
Reflection on Skills and Development
Studying SAFS helps me understand the importance of visual sensitivity, gesture clarity, and cultural storytelling in animation. My MA training strengthens my performance-based animation skills, while my background in illustration helps me appreciate their painterly styles. However, I still need more experience in stylised 2D timing, traditional-influence posing, and integrating 2D/3D workflows—skills essential for working in a studio that values art-driven animation.
Working with or learning from studios like SAFS would allow me to explore animation that balances commercial relevance with cultural and artistic depth.
References
Shanghai Animation Film Studio (上美影). (Official Website).
https://www.safs.sh.cn/
Tencent Video. (2023). 《中国奇谭》幕后访谈与导演解析.
https://v.qq.com/
“Danqing Season / 丹青季 – Infinity Nikki Collaboration” (Press Release).
PaperGames × Shanghai Animation Film Studio (2024).
https://nikki.papegames.com/
《中国奇谭》官方微博（幕后资料 & 制作团队）
https://weibo.com/
哔哩哔哩 Bilibili. (2023). 《中国奇谭》幕后制作、风格化动画访谈合集.
https://www.bilibili.com/
ArtStation – Chinese Folktales Visual Development.
https://www.artstation.com/