Character animation is a very powerful way to tell a story, especially in terms of its movements and expressions for the overall production. It's a lot of fun to see characters in animation that have human expressions. According to (New Edition Longman Dictionary of Contemporary English), the word character refers to a particular combination of qualities that characterize a person or a particular type of person, which is also synonymous with the behavior, mannerisms and actions that form the qualities characteristics of someone. It doesn't matter whether this character is particularly an object or a human, as long as he moves, has interactions and responds to the qualities of the attitudes that are in him. In animation, a character holds the main attraction and becomes the main key to determining the success of the production by getting feedback and responses from the audience. To achieve this, each character must associate emotions which are expressed from the facial expression. Facial expressions are the ultimate display of our emotions. It helps when someone hears, sees something, smells something, tastes something, feels something, or thinks something. The facial expression represents the seven basic emoticons which are happiness, sadness, surprise, fear, anger, disgust and contempt (Steve Roberts, 2005). In a famous series of theatrical animated films created by William Hanna and Joseph Barbera from 1970 to 2005, Tom and Jerry, the strength of this series lies solely in the characters' facial expressions, movements and the addition of music instead to have dialogues throughout the story. So, it is proven here that a character's facial expression plays an important role either...... middle of paper... or lighter and can run faster in the rendering process. Some of them also try to invent new technologies like Morph Based Setup. However, purchasing this software is not easy and can be expensive in terms of budget, which is definitely not the best solution for independent animators or for small in-house productions where they previously had a tight budget. Also in the Malaysian film industry, few animation directors explore and manipulate the 3D animation process to solve these two problems. Our local animation productions are mostly produced using a fully 2D or 3D integration process without having specific hybrid applications on character modeling. This is clearly seen in our local products such as Usop Santorian and Anak-Anak Sidek which come in a fully 2D interface (image 1.2.1) while Upin, Ipin and BoboiBoy are in a fully 3D interface (image 1.2.1). 1.2.2)