Director of Animated Series 'Saat Pouya' Hopes for Season Three / How Much Artificial Intelligence Was Used?

The director of the animated series 'Saat Pouya' spoke about the work's educational approach, stating that lessons are delivered within the story.

According to Ambassador Arjan's report, Abtin Yaghmaian, the director of "Dynamic Clock" puppet animation, referring to the educational approach of this series, said: "Our effort in "Dynamic Clock" has been to teach children in simple language and in the form of stories and stories that making mistakes is not the end of the road, but an opportunity to learn, correct behavior and improve.

Yaghmaian explained about the story and content of the "Dynamic Clock" series: "Dynamic Clock" was co-directed by me and Arash Razani and commissioned by the Saba Animation Center. This series was produced for children and its story is about a boy named Poya who finds a magic watch; A watch that allows him to turn back time.

Emphasizing the educational approach of this series, the director of "Saat Pooya" said: "Pooya faces a situation in every episode in which he may make a mistake." With the help of the magic clock, he can go back to the past, see his mistake and make up for it. However, more important than correcting the mistake is the lesson that comes from it; Making mistakes is part of the learning process, but we should learn from our mistakes and try not to repeat them. These are the lessons that are presented to the child in the context of the story.

Referring to the production process of this series, Yaghmaian stated: "Saat Poya" has been produced in 2 seasons, each season consisting of 26 episodes of 12 minutes. About 20 artists and agents specializing in various art fields, including animating dolls, making decor and dolls, and producing music, have worked for more than four years to produce this collection and create its world for children.

He, who attended the international festival of films for children and teenagers, received a golden butterfly for this series, and added: We hope that it will be possible to produce the third season of this series so that we can narrate more stories for children's audiences.

This director said about the use of new technologies in animation production: In today's world, we have to use artificial intelligence in various fields. Our approach in the production of this collection has been to use artificial intelligence as a tool to help the production process and assist the artists. A tool that can help shape and nurture their creativity, rather than replacing the creativity and ability of artists or relying solely on artificial intelligence outputs.

Referring to the use of stop-motion techniques, Yaghmaian said: In the production of "Dynamic Clock", we have tried to use as many stop-motion techniques as possible in the world. However, the conditions of production in Iran and budget restrictions make us unable to always use the most up-to-date facilities and equipment, but we try to compensate for financial limitations with creativity in the production process and increase the quality of work as much as possible.

In another part of this conversation, the director said about the necessity of holding special cultural and artistic events for children in war conditions: Unfortunately, today we are in a situation where war and the anxiety caused by it have become a part of the lives of children and families. For this reason, in my opinion, holding children's festivals and cultural and artistic programs in such circumstances should not only be stopped, but become more important.

In the end, he said: Children in the days of war, more than ever, need moments to play, be happy, dream and experience a sense of security and normal life again. Watching an animation, attending a festival and being with their peers can take them away from the tense atmosphere and anxiety they experience at home and in society for a few hours and give them a chance to breathe and experience happiness, and this is not just a simple hobby.