Animations

Roto Artist - 3D CG

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:54:00 +0000

Roto Artists assist in the preparation of material for the Compositing Department. They trace live action frames to provide visual information that will enable Compositors to combine all the various elements accurately.

This process is called rotoscoping and originated in 2D animation when live action was traced as reference for movement, or to establish where drawings needed to match to areas of live action.

Rotoscoping is the first skill required by Compositors and continues to be part of a Compositor's role. On smaller projects, Compositors may do their own rotoscoping.

As this technique involves working on previously shot live action, the role of Roto Artist exists more often on special effects work, within facility houses or on projects that combine live action and computer graphics. This job can involve long and anti-social hours.

What is the job?

Roto Artists trace the areas of live action frames where computer graphics will overlap or interact with live images. This creates clear areas (mattes) within the frame to allow all elements of the scene to be layered convincingly.

If the camera is not moving within a shot, this may involve only one frame; however, mattes will be needed if the CGI interacts with moving people, moving objects or moving background elements and, in these cases, mattes may be required for every frame.

If the live action camera is moving, Roto Artists trace the relevant areas of every consecutive frame within that shot so that computer graphics can be combined accurately with the live action.

In addition to rotoscoping, Roto Artists assist generally in the preparation of material for compositing, including such tasks as painting out wires and rigs; doing basic green and blue screen compositing; or grading live action plates.

Depending on the production, it is most likely that Roto Artists will be working on Commotion, but they may be required to use Shake, Combustion, Silhouette or After Effects.

Typical career routes

This can be an entry level job, particularly suitable for a new entrant artist.

Roto Artist is the most junior role in the Compositing Department and is likely to lead on to more senior roles within that department.

Essential knowledge and skills

This work can offer a good opportunity to gain professional experience and learn more about using the software within a production environment. In most cases the following will need to be demonstrated within a portfolio submitted for a Roto Artist position:

understanding of fine art or photography;
understanding of composition and colour;
evidence of neat and accurate work;
competent drawing skills including good line quality;
basic knowledge of relevant software.

Key Skills include:

ability to be methodical, thorough and patient, with a good eye for detail;
ability to communicate with colleagues and work as part of a team;
ability to take direction and willingness to address comments and make changes;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline;
enthusiasm to learn and develop professionally;
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Roto Artists are likely to have gained a degree in an art-related subject, such as Animation, Design, Illustration, Painting, Drawing or Computer Animation.

Depending on their ultimate objectives, the specific degree may not be relevant at entry level but could affect the direction they take at a later stage.

It is possible that a period of professional production experience, for instance as a runner, may replace an academic qualification providing that a portfolio can demonstrate the necessary talent and skills.

Training in at least one of the relevant software packages currently in use by the industry is desirable, and familiarity with other programmes will be an advantage.

Companies have different attitudes to the amount of experience they expect Roto Artists to have had, and some expect to give the right candidates specific training on the job.

Editing Assistant (Animation)

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:53:00 +0000

Editing Assistants support the Editor(s) and Editing department, and their workload varies according to the size and type of the production. They log the audio and visual material received in the cutting room, load it into the computer and keep ongoing and detailed records, as instructed by the Editor or 1st Assistant Editor.

Editing Assistants make viewing copies on different formats for various departments, clients and composers. They handle the housekeeping tasks for the editing department, keeping it stocked with relevant materials, ensuring that all equipment is in good working order and placing orders with outside suppliers. They may liase with the Production and Accounts departments on administrative matters relating to the Editing department and keep the Editor's diary, booking sessions internally and with outside facilities. In a smaller cutting room, they may also act as a Runner.

Sound plays a vital part in editing for animation and, depending on the size of the production, the picture and sound may be handled by the same Editor or editing team. Editing an animation soundtrack can offer more creative opportunities than editing the picture, which is substantially pre-edited by the Director, so an interest in sound and music is very useful. While still at a junior level they may do soundtrack breakdowns, for which the format will vary depending on the editing system, and they may be asked to transfer other breakdowns on to bar sheets for the Director and Animators. This the first introduction Editing Assistants have to the production requirements for animation.

This can be an entry-level role for the right candidate.

Responsibilities

Editing Assistants give the Editor(s) whatever backup is required, and help to keep the editing department running smoothly and efficiently. They must take every opportunity to learn the systems and software in current use, and try to be aware of new updates and developments. Editing Assistants need to take responsibility for following through on the tasks they are given, and they must be prepared to work occasional long and anti-social hours.

Skills

Editing Assistants must be thorough and meticulous as close attention to detail is required, and knowledge of the technical aspects of the equipment is advisable. The abilities to take direction, communicate well, work as part of a team and appreciate the importance of a schedule, are all essential. Editing Assistants must be prepared to respect the editors' or studios' working practices, and discretion may be required if they are working on a confidential project.

Qualifications/Experience

Computer skills are essential and a basic understanding of the more commonly used software is useful, e.g. Avid, Apple's Final Cut Pro and Adobe's Premiere, etc. Entry level Editing Assistants are sometimes graduates of Film or Television courses, or appropriate Technical Colleges but there are also opportunities for Runners with the appropriate talents to be promoted, and this is the most common route into the Editing Department.

Compositor - CG

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:50:00 +0000

Compositors work in most areas of animation and post production.

They are responsible for constructing the final image by combining layers of previously created material. Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual Effects), Compositors need a thorough understanding of the CG process combined with relevant artistic skills.

In post production companies, some TDs (Technical Directors) may do their own compositing.

What is the job?

Compositors work at the end of the production process. They receive material from various sources which could include rendered computer animation, special effects, graphics, 2D animation, live action, static background plates, etc.

Their job is to creatively combine all the elements into the final image, ensuring that the established style of the project is respected and continuity is maintained.

To achieve this they enhance the lighting, match blacks and other colour levels, add grain where required, add motion blur (if appropriate), create convincing shadows and make sure levels combine together seamlessly, keying (see glossary), rotoscoping and creating mattes where necessary.

They work closely with Lighters and need to have technical knowledge of how 3D lighting works in order to understand the 'multi passes' that the lighters create. They also liaise closely with Render Wranglers to progress work through the department.

As this is the end of the production line, there can be occasions when it is necessary to work very long hours to catch up on a schedule. Compositors need to keep up to date with technological developments within their field.

Typical career routes

CG Compositors are most likely to have entered the Compositing Department as Roto Artists and worked their way up. In other cases, people who have acquired an understanding of compositing in layers for 2D Animation, using programmes such as After Effects, Animo or Opus, may have the relevant experience.

There are several levels within the department; this job profile applies to a mid-level Compositor. With the appropriate talent and skills, Compositors can become Sequence Heads, Senior Compositors or Compositing Supervisors; the best Compositors can aim to become VFX Supervisors.

Essential knowledge and skills Compositors need the talent to make artistic judgements, the technical skills to take practical decisions and the ability to analyse and solve problems.

Key Skills include:

extensive knowledge of current compositing software such as Shake and After Effects;
knowledge of various other programmes including Photoshop;
understanding of 3D animation process, particularly Lighting;
a good eye for composition, colour, light and shadow;
good knowledge of keying process;
methodical and thorough approach to work, and attention to detail;
ability to communicate with colleagues and work as part of a team;
ability to take direction and willingness to address comments and make changes;
ability to work with a minimum of supervision;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline;
Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Compositors are likely to have gained a degree in an art-related subject, such as Animation, Design, Illustration, Painting, Drawing, Photography or Computer Animation.

However, by this level, a minimum of two years professional experience; showreels demonstrating artistic talent and technical skill; and good references are likely to be of more value than academic qualifications.

Whether they have received formal training or worked their way up, Compositors need a thorough knowledge of the relevant software currently in use by the industry. Depending on the production, this is most likely to be Shake or After Effects, but could also be Combustion or, possibly Inferno or Flame.

For people moving into Compositing from other departments, there are several Shake courses available and this training would probably be a basic requirement.

Production Secretary (Animation)

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:47:00 +0000

Production Secretaries support Producers and Production Departments. In smaller studios they may also act as receptionists, answer telephones, and take on 'housekeeping', or office management, duties such as keeping the kitchen stocked, dealing with cleaners, keeping the first aid box, etc. In larger studios, the role may be confined to the needs of the Production Office. Some typing is involved, both on behalf of other members of the team and also for writing their own letters, notes, charts, etc. This can be, but is not always, an entry-level role.

Responsibilities

Production Secretaries' precise responsibilities vary depending on each Producer and each Production. They may be responsible for: regular administrative duties such as organising couriers and shipments; taking accurate messages; collecting and distributing time sheets; ensuring that invoices are authorised by the relevant people; liaising with the Accounts department; keeping the petty cash book; preparing and issuing standard employment contracts; checking stocks and re-ordering studio supplies; ensuring that support contracts for studio equipment are current and valid; helping to keep databases up to date; taking notes at meetings; and general secretarial duties.

Skills

Production Secretaries must be bright, responsive communicators, both in person and on the telephone. They should be able to prioritise, multi-task and use their own initiative. They must be numerate, literate and capable of composing their own letters. Good typing and general secretarial skills are required, but it is unlikely that shorthand will be needed. In all Animation techniques, both attention to detail and diligent follow up are vital.

Qualifications/Experience

No degree qualifications are necessary although this can be a good entry-level role for university graduates who want to work in the production department. Good IT skills are essential, and an interest in software programmes other than word processing can be helpful. In addition to standard packages, knowledge of spreadsheets and scheduling programmes, together with Photoshop, can be an asset.

Production Assistant (Animation)

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:46:00 +0000

Production Assistants work with, and support, Production Co-ordinators or Production Managers. Their role varies depending on the size of the production. On larger productions, they work more closely with the Co-ordinator than with the manager. There may be a Co-ordinator for each department, e.g. Design & Storyboard, Editing, Layout, Rigging, Animation, Lighting, Compositing, Post Production, etc., who reports to the Production Manager. In this case, Production Assistants acquire a great deal of knowledge in very specific areas. On smaller productions, they are likely to work across all departments, thus gaining wider experience.

Regardless of the size of the project, Production Assistants help to take care of the crew, making sure that work is ready and available for them to begin, ensuring that the delivery schedule is met, and checking that the necessary materials, equipment and references are available. They assist in keeping progress reports up to date and distributing them to the relevant people. Production Assistants may progress to become Production Co-ordinators, or into technical roles if that is more appropriate to their talents and skills. This can be an entry-level role in the production department.

Responsibilities

Production Assistants are responsible for assisting in the smooth running of the production. Their precise responsibilities vary depending on the studio, the Animation technique and the size of the production, and may include: taking notes in production meetings and distributing reports to the appropriate people; operating equipment for viewing tests and dailies; co-ordinating and logging incoming and outgoing materials; and maintaining a database for tracking work progress. If a production is animated overseas, they may be responsible for assembling, photocopying and packing the storyboards and any associated documentation, for shipping. In general, Production Assistants help to facilitate the work of the production, liaising between members of the crew and the various departments.

Skills

Production Assistants must be bright, responsive communicators and good organisers. They should be able to prioritise, multi-task, use their own initiative and have a good memory. They must be numerate, literate and capable of taking accurate notes. It is a role in which specific skills have to be learned quickly, on the job. Good typing and IT skills are essential; some progress management work utilising spreadsheets and databases is usually required. Production Assistants must be able to take direction and to work as part of a team. In all techniques of Animation, attention to detail and diligent follow up are vital.

Qualifications/Experience

No degree qualifications are required, although it is very useful for Production Assistants to have some knowledge of Animation, or of how studios operate. This can be a good hands-on entry-level job for recent graduates of Animation, Computer, Film or Media courses, who want to gain experience in production; some Runners are also promoted to this role. Good IT skills are essential and a knowledge of Photoshop can be an asset.

Render Wrangler

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:42:00 +0000

In CGI, Rendering is the process of converting computer data and out-putting it as a sequence of viewable images. Render Wranglers monitor and control the rendering process and manage the render farm. They can work on a project from previs at the start of production until the final material is delivered for compositing.

What is the job?

Render Wranglers supervise the rendering process which can involve monitoring anything from a few computers to a major render farm of, perhaps, a thousand machines. Artists from various departments submit completed data for rendering. This is placed in a queue for Render Wranglers to prioritise the work and allocate machines. They continuously check the computers to ensure there are no technical or machine problems which might interfere with a successful output.

Render Wranglers may receive directions from Producers, Supervisors, Co-Ordinators or Resource Managers and have contact with artists in various CG departments, particularly to sort out problems that they are unable to resolve themselves.

Rendering can be required in the planning stages and throughout production, including development and tests for models, animation, effects, lighting, etc. Although Animators usually check their own work in progress, animation may need to be rendered to view subtle movements such as facial expressions. Render Wranglers liaise with the Compositors about the delivery of final rendered CG elements.

As new entrants, Render Wranglers can expect to shadow more senior colleagues for a limited period before starting on day shifts with supervision. With more experience, they can also expect to be assigned to night shifts. Rendering Departments work on rota systems; there are usually three shifts over 24 hours so the job can involve long and anti-social hours.

Typical career routes

This can be an entry level job, particularly suitable for new entrants with good computer skills. Render Wranglers may be graduates with relevant degrees or specialised training, or Runners with suitable aptitude who are promoted to this role. Depending on individual talent, skills and interests, the job can lead into most 3D departments, including Layout, Modelling, Animation, Effects, Matte Painting, etc., or into Co-ordinating.

Essential knowledge and skills

This role offers a good opportunity to gain professional experience and acquire a broad based knowledge of CGI procedures within a production environment.

Key Skills include:

high degree of computer literacy;
knowledge of at least one of the relevant 3D packages (eg. Maya, XSI or 3D Studio Max) currently in use by the industry (and familiarity with other programmes can be an advantage);
ability to learn new software quickly, and learn on the job, if necessary;
enthusiasm to learn and develop professionally;
ability to analyse and problem solve;
capacity to take responsibility and ability to manage and prioritise their time and workload;
ability to record information accurately and produce reports;
ability to take instructions and work as part of a team, with the capacity to work with a minimum of supervision, when required;
ability to work under pressure if required;
experience in scripting is desirable but not essential;
respect for the procedures and requirements of a particular studio, production or pipeline;
knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications

Render Wranglers are likely to have gained a degree in Computer Animation, Computer Science or similar, or in an art-related subject. Even with a less appropriate degree, they may have chosen to acquire some CGI training on specialised short courses, some of which may be programme-specific. Applicants will be expected to provide a relevant CV with a covering letter.

Match Move Artist - 3D CG

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:39:00 +0000

Also known as Matchmovers or 3D Trackers, Match Move Artists translate and imitate the camera movements contained in live action shots and, using the appropriate software, match those movements in 3D.

As this involves working on previously shot live action footage, the role more often exists on special effects work, within facility houses or on projects that combine live action and computer graphics. This job can involve long and anti-social hours.

What is the job?

Match Move Artists position tracking points on live action shots and, using those tracking points, they work out the co-ordinates in the relevant 3D programme. The information they provide enables the CG geometry to fit accurately and convincingly into the live action plates when the various elements are composited.

It is vital that Match Move Artists use a high degree of accuracy; without accurate match moving, the later stages of production will not work. Depending on the production, it is likely that Match Move Artists will be working on Maya, Shake or one of several 3D tracking programmes including 3D Equalizer, Maya Live or Boujou.

They will need to train or re-train as software develops.

Typical career routes

This can be an entry level job, particularly suitable for new entrants with a technical bias. Match Move Artist is one of the junior positions in the CG Department and they can expect to spend between 12 and 24 months in the role before progressing to Junior TD (Technical Director).

The work is more technical than creative but, depending on individual talent, skills and interests the role can lead in various directions including Layout, Modelling, Texture, Rigging or Effects.

It is worth noting that, although Match Moving is often an entry level role in the UK, in many American studios it can be regarded as a career.

Essential knowledge and skills

This role can offer a good opportunity to gain professional experience and learn more about using the software within a production environment. In most cases, the following will need to be demonstrated within a portfolio or showreel submitted for a Match Move Artist position:

evidence of experience on relevant software;
evidence of interest in Computer Graphics and/or Computer Animation;

Key Skills include:

ability to be accurate, thorough, methodical and pay attention to detail;
understanding of maths and physics;
ability to communicate with colleagues and work as part of a team;
ability to take direction and willingness to address comments and make changes;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline;
enthusiasm to learn and develop professionally;
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Match Mover Artists are likely to have gained a degree in a 3D discipline, such as Computer Graphics or Computer Animation.

Depending on their ultimate objectives, the specific degree may not be relevant at entry level but could affect the direction they take at a later stage.

It is possible that a period of professional production experience, for instance as a runner, may replace an academic qualification providing that a portfolio or showreel can demonstrate the necessary talent and skills.

At entry level, personal work showing talent and commitment may be considered as an alternative to either a degree or previous production experience. Training in at least one of the relevant software packages currently in use by the industry is desirable, and familiarity with other programmes will be an advantage.

However, it is unlikely that knowledge of a specific programme will affect employment if the applicant has made a good overall impression.

CG Modeller

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:36:00 +0000

Modellers build three-dimensional computer models of everything that is needed for a CGI project. As they develop their skills and interests, Modellers may concentrate on different areas such as characters, objects, environments or special effects.

Further on in the process, Riggers will rig the models to enable them to be animated and Texture Artists will apply texture which will be further enhanced at the Lighting stage when tone and depth are added.

What is the job?

From designs, concept drawings and any other available reference material, Modellers create three-dimensional models using whatever software is applicable to the production.

They work to established designs and need to produce an accurate translation of the reference, staying on model (in style). There may be occasions when Modellers will need to do their own research or scan in a maquette or sculpture as reference.

The models they produce need to meet the creative requirements of the Production Designer and/or Art Director and/or Client, but it is just as important that they should satisfy the technical needs of the CG department and be efficient, reliable, to scale and easy to rig and animate.

It is important that Modellers understand and appreciate what will be required of their models in the later stages of production because this can affect the work they produce. Information about the action that is going to be required from a model will be provided by a Director, Supervisor or Animator, or can be found in the storyboard or layouts.

On smaller productions, Modellers may also rig, build textures and create lighting. On larger projects, they may be required to liaise with riggers, texture artists and lighters.

Typical career routes

There are several levels of Modeller from a new entrant taken on as a trainee or junior, through to a Senior Technical Director or Supervisor. This job profile relates to a mid-level Modeller. Modelling can be a good career choice or can lead on to other roles, such as rigging or texture.

Ideally, Modellers combine both modelling and texture skills which give them flexibility when progressing through the CG Department. With the appropriate talent and skills, a successful Modeller/Texture Artist may aim, eventually, to be either a CG Supervisor or a VFX Supervisor.

Essential knowledge and skills

One of the most important skills is to be able to think in 3D. In addition, it will be necessary to demonstrate at least some of the following within a portfolio submitted for a Modelling position:

ability to follow design reference accurately and work in a range of styles;
ability to create moderate to complex and organic models;
ability to model characters, props and environments, working to a good level of finish, if required;
good drawing skills including use of light and shadow and a good understanding of anatomy;
strong sense of scale, form, weight and volume;

Key Skills include:

good understanding of modelling with either Polygons or NURBS;
ability to do UV mapping;
ability to problem solve;
ability to communicate with colleagues and work as part of a team;
ability to take direction and willingness to address comments and make changes;
ability to work with a minimum of supervision and capacity to function as team leader, if required;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline;
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Modellers are likely to have gained a degree in one of a variety of different disciplines including Mechanical or Civil Engineering, Industrial Design, Architecture, Computer Graphics, Computer Animation, Sculpture, Woodwork, Metalwork, Ceramics, etc.

It is possible that a period of comparable professional experience, or working up from a trainee, may replace an academic qualification providing that a portfolio can demonstrate the necessary talent and skills.

Modellers will be expected to have solid experience in at least one of the 3D CG packages regarded as standard by the industry. Maya is currently the most widely used programme for film, television and facility houses in the UK. However, it is unlikely that knowledge of a specific programme will affect employment.

Some studios may provide the necessary re-training if modelling talent and skills are well established in a portfolio; alternatively, Modellers will need to upgrade their own skills and take training on the relevant software. Life drawing and experience of sculpting or traditional model building are an asset.

Production Designer - Animation

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:32:00 +0000

Production Designers are responsible for creating the 'look' of a project, visually interpreting the script, developing characters and environments that will both illustrate the narrative and enable Directors to realize their vision.

In the early stages of a project, this is likely to be done in partnership with the Director and, sometimes, in conjunction with the Producer and/or Client.

While establishing the stylistic theme, Production Designers also have to consider the technical resources available on the production and any budgetary and scheduling restrictions.

What is the job?

Production Designers consider the script/treatment, and any other form of brief, when producing the original designs. While being aware of the likely method of animation, in the early stages of a project they will use whatever technique is appropriate to demonstrate the proposed designs.

For most types of animation, designs are often developed initially in a 2D format and presented as drawings or paintings regardless of the final technique, even for projects that are destined for CGI.

On some smaller productions, the Production Designer's role may be combined with that of Art Director which means an ongoing involvement with the project. They may also function as the Character Designer and/or Background Designer.

Either alone or with a team, they will establish the environments, characters, props, colour schemes and any other design elements required for the production. The amount of work required from Production Designers in order to style a project will vary depending upon the requirements of each production and the size of the Art Department.

On some projects, the Production Designer may also be the creative head of the Art Department, often supervising the work of a team which may include art directors, concept artists, character designers, sculptors, prop designers, background artists, set designers, model makers, set builders, set dressers and pre-vis (pre-visualisation) artists. (Storyboard and Layout Artists are usually working for the Director but can sometimes be regarded as part of the Art Department.)

It is likely that the Art Director, together with the Production Manager and/or Co-ordinator, will cover the organisational running of the department. In some cases, Production Designers will be commissioned to produce only key designs that define the style of the film and this work will be implemented and supervised throughout production by Art Directors.

Typical career routes

There are no typical career routes. If a project is based on an existing book or comic strip, the creator of that original work may become the Production Designer; depending on the project, an illustrator or graphic designer may be chosen as good 'casting' based on their previous work, regardless of the medium.

Ideally, Production Designers will have worked their way through the Art Department, possibly starting as character or set designer and working their way up to Art Director.

The experience gained via this route will enable Production Designers to appreciate more than just the design aspect of the project and enable them to make a greater contribution both to the technical realisation of their work and the efficient running of the art department.

Essential knowledge and skills

Production Designers need imagination, artistic flair and talent to produce the design solutions for a project. They must be able to understand not only what will be appropriate in terms of design, but also what is going to be achievable further down the line by the animation and post-production teams.

They need to be able to work to a schedule and budget and, in some cases, provide budget information regarding art department costs to the production team. If Production Designers do not have an animation background, they should ensure that members of their team are able to provide any technical expertise that they may lack.

Key Skills include:

design talent;
good people management and leadership skills;
good communication and presentation skills;
ability to manage schedules and prioritize their own work and that of others;
ability to take direction, give direction and work as part of a team;
ability to work without supervision;
ability to receive and address comments;
ability to interview and assess work of potential art department members;
ability to work long hours and, if required, function under pressure;
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Production Designers are likely to have an established track record and be selected on the basis of the suitability of their style and work, and their sympathy for a particular project. It is likely they will have art-related or design degrees but may or may not have any experience of animation.

Many famous artists have created production designs not only for opera and theatre but also for animation. However, an understanding of both animation in general, and the technique of a particular project, will be extremely helpful.

Series Director

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:29:00 +0000

Directors provide the vision and creative leadership for a project. They determine and guide the narrative content and visual style of a production, and are sometimes the creator of the original designs. In the early stages of production, they work closely with the Producer(s), Scriptwriter(s) and Production Designer. In principle, the role is similar for all techniques of animation although certain technical skills may vary.

Responsibilities

Directors are responsible for the creative planning and design of the production as a whole. They are responsible for interpreting or incorporating clients', producers' or commissioners' comments and for the quality of the final delivered product. Directors must be aware of any relevant restrictions that might affect production and, in conjunction with the producer, can be involved in both schedule and budget management. They have creative responsibility for the entire production team and may be particularly involved with the design, storyboard, layout, animation and post-production departments, or wherever creative choices and decisions are required.

It is likely that the director will be active in all aspects of the soundtrack, including casting and directing the actors and guiding the musical direction. Directors may be involved in crew selection and technical choices, although they do not necessarily have a technical background themselves. On smaller productions they may produce the storyboard and either animate themselves, or direct other animators.

Skills

Creativity, imagination and artistic flair are all essential, combined with storytelling skills and film literacy. Project management and leadership abilities are necessary to direct and manage the story, design, layout, animation and technical teams. Excellent communication and presentation skills, and the ability to keep to deadlines and respect budgets, are also required. Directors may need huge reserves of tact and drive in order to achieve a balance between creative desires and production requirements while still managing to deliver the best possible products.

Qualifications/Experience

Directors are more likely to be employed on the basis of their talent and track record than on any formal or academic qualifications. They must be able to demonstrate not only the creative quality of their previous work, but also their leadership skills. Many directors have progressed through various departments within their chosen animation technique and are likely to have initially graduated from an Animation, Art, Computer or other relevant degree course. An apprenticeship experience provides a useful understanding of all aspects of the production process.

Lighting TDs/Lighters

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:24:00 +0000

Lighting TDs/Lighters add the lighting that creates atmosphere, adding realism, tone and depth to a scene; visually balancing individual elements to enable the compositors to produce a convincing image. They need to use technical skill and aesthetic judgement in order to create images that not only look good but are easy to render (output; translating computer data into images).

Lighting is a fundamental skill required by generalists who cover more than one role when working on smaller projects. On larger productions, there is likely to be a team of dedicated Lighting TDs/Lighters.

What is the job?

Lighting TDs/Lighters make sure there is consistency in lighting, colour balance and mood between the various elements of a shot or scene. When appropriate, they ensure the CG looks photo-realistic to match the live action plates. Not only do Lighting TDs/Lighters emphasise drama or narrative, they also establish and clarify location, weather, time of day, etc.

It is likely that there will be an established design theme for a sequence or a project which Lighting TDs/Lighters need to respect. They refer to the relevant production designs and apply that visual style as faithfully as possible, taking care to maintain continuity.

On some projects, a Lighting TD/Lighter may be involved in the research and development of different effects for the Art Director or Lighting Supervisor. In a large company or on a larger project, Lighting TDs/Lighters are often part of a team, but they need to be able to work with a minimum of supervision, understand the tools available and know how to utilise them to create the desired effects. On smaller productions, the role of Lighting TD/Lighter may be combined with that of Modeller or Texture Artist.

Lighting TDs/Lighters need to work closely with the Rendering and Compositing Departments to understand and appreciate what is required at the next stage and ensure their material is easy to use and delivered on time.

Typical career routes

There are several levels of Lighting TD/Lighter from junior through to a Senior Technical Director or Supervisor. This job profile relates to a mid-level grade. There is no traditional route into the Lighting department but it is unlikely there will be suitable jobs for new entrants.

Lighting TDs/Lighters with artistic interests may tend towards 'look development' while those with more technical skills may find shader -based work is more appealing. Sometimes a Shader Writer makes the move into Lighting. Lighting Designers from the theatre, Photographers or Fine Art Painters, all with technical understanding of computer processes, can become good lighters.

The senior position within the department is the Lighting Supervisor and experience at this level could, eventually, lead on to CG Supervisor or VFX Supervisor.

Essential knowledge and skills

strong sense of light and shadow demonstrated by artwork, photography, theatre, film or CG work;
knowledge of colour theory (Art History can be useful);
ability to follow design reference and sympathy with wide range of styles;
ability to light characters and environments, interior & exterior, different times of day, etc ;
an understanding of composition and the ability to enhance mood by lighting;
good working knowledge of computer animation packages, particularly Maya.
good working knowledge of 2D Paint software and various industry-standard rendering programmes, such as Renderman, Mental Ray and Brazil;
good working knowledge of palettes and CLUTs (Colour Look Up Tables);
ability to do UV mapping;
good understanding of maths and physics;
understanding of the principles of cinematography including depth of field, density, use of filters;
ability to problem solve;
ability to communicate with colleagues and work as part of a team;
ability to take direction and willingness to address comments and make changes;
ability to work with a minimum of supervision and capacity to function as team leader, if required;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline:
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Ideally, Lighting TDs/Lighters will combine art and maths qualifications. In fact, they are most likely to have gained a degree in Computer Graphics, Computer Science, or one of a variety of different disciplines including Art-related subjects, Photography, Computer Animation, Maths or Physics.

Once established, their work and track record will be of more value than a degree. Solid experience in at least one of the 3D packages currently in use by the industry will be expected. These include Maya, Houdini, XSI, 3D Studio Max and Lightwave and familiarity with other programmes would be an advantage.

At a more junior level, it is possible that some relevant professional experience may replace an academic qualification providing a portfolio and/or showreel demonstrates the necessary talent and skills.

Lighting TDs/Lighters

Lead Lighter

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 08:17:00 +0000

Lead Lighter will be responsible for lighting digital assets and seamlessly integrating them with background plates, 3D environments and other characters.

Essential Duties and Responsibilities:

Design and create lighting and the look of CG objects, scene images, effects and programs for digitally composited sequences to reach the vision of the Director, Production Designer, Art director and VFX Supervisor.
Set up, light, rig and establish key shots for a given sequence.
Work closely with Directors, Production Designer, Art Directors, Visual FX Supervisor and Cg Supervisor, to set a reference for the sequence. Address all lighting comments, clarifying artistic direction when unclear.
Define standards and techniques for lighting a sequence that maximizes efficiency and ensures quality. Optimize setups for rendering.
Creative responsibility to keep the continuity of the sequence consistent with the key shot.
Provide leadership for production lighting team both creatively and technically. Foster good working atmosphere and ethics. Lead by example and promote good morale.
Ensure that lighting setups are clean, well documented, modular and easily applicable to other shots.
Troubleshoot creative and technical issues as they arise.
Initiate, set up, organize and document any lighting - tools, adbs, scripts or processes on a global or sequence level.
Lead meetings to hand off the sequence to production lighters before they start. Using the key shots, clearly explain and give direction as to the technical and aesthetic challenges of the sequence. Similarly, hands-off the set ups to other teams that need to deal with common elements, such as environments or FX.
Create and maintain sequence feedback devices such as mov lists and contact sheets.
Mentor production lighters and ensure that they technically and aesthetically achieve look of the sequence.
Collaborate with Cg Supervisor and Head of FX timely FX integration for a sequence.
Collaborate with CG Supervisor timely matte painting integration for a sequence.
Manage personal shot load, meeting all deadlines of milestones to final film delivery, based on the schedule for a given sequence.
Help facilitate CG character visual development. This can include working with surfacing, setting materials or shader parameters.
Attend creative reviews such as Dailies or Art Director rounds.
Assist Cg Supervisor when needed. This can include helping with shot assignments, prioritizing renders, reviewing surfacing.
Work closely with Art Directors for direction and clarity on props/sets and lighting withing sequence.
Responsible for informing Production Supervisor and CG Sup of any scheduling and quota issues.
Help bid sequences.
Assist with interviews and recruiting.
Attend sequence breakdowns and kick off meetings.
Be able to run DDR and playback devices in CG Supervisor’s absence.

FX Lead

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:43:00 +0000

The FX Lead will oversee and provide continuity for a team of FX artists who will be designing and implementing a variety of fx elements, ranging from particle simulations and fluid solves to rigid body dynamics and other fx techniques.

Management Responsibilities:

Primary interface in communicating with other departments for their sequences.
Ensure all FX work for their sequences adheres to pipeline standards.
Work with Head of FX and Production Supervisor in bidding FX for the sequence.
Work with Head of FX and Production Supervisor to track the progress of all of the FX in a sequence and flag potential problems.
Review the current state of the sequence on a weekly basis.
Work with Head of FX and Production Supervisor to coordinate timely FX integration with the Lead Lighter and/or CG Sup of the sequence.

Artistic responsibilities/Animator mentoring:

Be present at Rounds and to collaborate with the Head of FX to give technical feedback.
Be available to answer technical questions but is not an additional approval step between Head of FX and artist.
Maintain a database of artwork and reference materials for their sequences.
Ask for Directors’/VFX Supervisor launches as needed.
Work with Head of FX to ensure that Rounds and Dailies comments are understood and addressed.
Provide feedback to the Head of FX and Production Supervisor on performance reviews.

Meetings/Rounds/Creative Reviews:

If possible, attend FX-related meetings for the assigned sequence and be able to speak on behalf of the department in the event that the Head of FX and/or VFX Supervisor are not present.
Work with Production Supervisor and Production Coordinator to schedule inter-department meetings for the sequence.
Work with Production Supervisor and Production Coordinator to determine if the creative notes given during reviews can be made within established bid times.

Prioritizing:

Unless specified by the Production Supervisor, the Sequence Lead role is the first priority, followed by shot work.
Work with the Production Supervisor to prioritize FX Animator and overall sequence tasks.

FX Animator / FX Artist

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:37:00 +0000

Essential Duties and Responsibilities:

Designs and creates images, elements and effects (such as fire, smoke, crowds)
Solid understanding of Maya to be able to use it for particle systems, fields, expressions, MEL scripts, soft bodies, rigid bodies, cloth dynamics and particle instancing/flocking
Develop EFX system independently for production use
Effectively use in production an EFX system that another FX Animator developed (i.e. bubbles, Creatively solve problems and achieve art direction given to them for a shot
Work with other departments and other FX animators to achieve the goals of art direction given
Solve minor problems independently
Strong artistic vision and ability to be creative and expand upon the art direction given
Strong sense of design and composition
Strong understanding of Animation and how things should look, feel and move
Some experience writing scripts and/or programming is preferred
Ability to multi-task on multiple shots whether similar or different
Prioritize tasks
Work on shots independently and efficiently
Patient and willing to answer questions and mentor other artists
Stays abreast of current technologies and attempt to implement them effectively
Shows follow thru and is punctual at dailies

Qualifications, Education and/or Experience

Experience involving simulations of natural phenomenon, particle systems, procedural modeling, procedural animation, hard and soft body dynamics and other similar effects
Must have visual and technical skills
Ability to work collaboratively in a high-end software and production environment
A background in computer programming, preferably in C or C++ and UNIX
An understanding of physical dynamics and natural phenomena is key

Layout Artist - 3D CG

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:30:00 +0000

The role of Layout Artist exists within some areas of CGI and not in others. In features, the Layout Department plays an important and creative role which can be related to that of the Cinematographer's team in Live Action.

A mid-level Layout Artist could be equivalent to a Camera Operator. In television, where roles may not be as specialised, the size and structure of the production dictates whether there will be dedicated Layout Artists; when the job does exist, the requirements are similar to those on features.

In either case, Layout Artists are responsible for staging every shot and plotting the action that will take place within each scene.

Depending on the individual project, it is likely they will work most closely with the Director and Storyboard Artists but may also have involvement with various other departments.

In post production facility houses, if the job exists at all, Layout Artists may be called Layout TDs or Set Up TDs (Technical Directors) and perform a more technical role. It is more likely that CG Animators will pick up whatever information they need about camera moves and proposed action from previs (Pre-Visualisation) than from layouts.

What is the job?

In most cases, Layout Artists break down 2D storyboards into 3D shots. Using production designs and models as reference, they build locations, including major props, block in the position of characters, select camera angles and plot camera moves.

They ensure that everything that is going to be animated is set up appropriately, including not only characters, but also any props or parts of the background that need to move (e.g. an opening door).

Layout Artists may also be responsible for establishing the lengths of shots within a scene. It is likely that the Director and, possibly, Editor will view and make comments on a low resolution first pass of a layout reel so Layout Artists can make any necessary changes before the scene is passed on to the animators.

There is a later stage of Final Layout, after the animation is complete, when set dressing is added, background models are built in high resolution and final adjustments are made to camera moves and shot lengths.

Depending on the size of the project, Final Layout can become the responsibility of Lighters/Compositors.

In facility houses, the need for Layouts usually occurs only when there is either a need to apply motion capture to CG models; or when there is a big FX shot which needs to be prepared for Effects Animators; or if a background needs tracking or rigging.

Typical career routes

There is no typical career route but, as traditional artistic skills and a good knowledge of the appropriate software are both required, it is likely that Layout Artists will have gained some professional experience, often as designers, illustrators, sculptors, storyboard artists or in another relevant role.

With an impressive portfolio and showreel demonstrating their talent, it is sometimes possible for recent graduates or self-taught individuals to find a job in the Layout Department.

Layout Artists can go on to become Layout Supervisors or Layout TDs and it can also be a good route in to Animation.

Essential knowledge and skills

As Layout Artists in CGI are undertaking a role similar to that of a Camera Person, it is essential that they are extremely film literate and able to meet the filmic needs of a production.

Key Skills include:

demonstrable artistic skills including a strong sense of composition and perspective, good use of light, shadow and colour; the ability to create atmosphere and good understanding of editing;
thorough knowledge of whatever software applies to the production;
good understanding of the principles of cinematography including use of lenses, positioning and moving the camera, etc;
for facility house work, sufficient technical skills to be able to apply motion capture to CG models;
ability to take direction and a willingness to address comments and make changes;
ability to communicate with colleagues and work as part of a team;
ability to work with a minimum of supervision and ability to problem solve;
ability to deliver on schedule, working under pressure if required;
respect for the procedures and requirements of a particular studio, production or pipeline;
knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

It is likely that CG Layout Artists will have gained a degree in an art related subject such as Illustration, Fine Art, Sculpture, Computer Animation, Graphic Design or in one of a variety of film or computer subjects.

However, the quality of their work will be of more value than an academic qualification.

Experienced Layout Artists will be expected to have showreels of previous work; new entrants should have a portfolio that demonstrates their skills together with a showreel of any relevant personal work.

In addition to artistic talent and film literacy, Layout Artists will need to have trained in at least one of the 3D software packages currently in use by the industry; these include Maya, XSI, 3D Studio Max and Lightwave.

A good understanding of maths and physics can be useful.

Layout Artist - 3D CG

Director / Head of Training

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:17:00 +0000

The Director of training will manage all aspects of training within DreamWorks Dedicated Unit, Technicolor India.

Essential Job Responsibilities

Partner with DDU Department Heads and DWA Training Team to determine and consolidate training needs
Develop a pedagogical design for training
Manage and oversee New Hire Curriculum, Continuing Education, Special Projects Training, and Operational Skills Training
Allocate resources between instruction, documentation, and tutorial building
Develop budgets for approval
Manage allocated budget and approve local expenses - write reports and keep records
Develop and manage workflow processes and staff.
Partner with Production to determine appropriate trainers per department
Manage documentation, publishing, and delivery
Manage studio library
Develop and administer DDU’s Internship Program (a six-month immersive, discipline-specific apprenticeship) for compliance with DWA standards and in alignment with the needs of DDU.
Conduct hands-on technical /artistic development classes.
Plan/Coordinate educational programs with local institutions to conduct technical and artistic courses.

Managerial / Leadership responsibilities:

Leverage resources for maximum effect
Understand the needs of Client Group and instill the customer service value amongst team
Create the Educational Environment/Philosophy/Culture
Mentor and assess trainers
Develop evaluation process to measure success
Promote and market the value of Training

Requirements (Experience/Education):

Master’s degree in computer science, computer graphics, art or equivalent (preferred)
Experience working with 2D/3D production packages, eg. Maya, Houdini and Photoshop
Programming with special emphasis on Python, C++ (preferred)
Practical knowledge of human behavior
Strong presentation skills
Understanding of Mass Communications, Marketing, and Cognitive Sciences
Strong Software background with experience in the software development process
Proven ability to translate technical concepts to non-technical clients
Expert systems experience is preferred
Prior experience in the field of training and development and / or as a class room instructor (preferred)
Excellent organization and execution skills
Experience of leading and managing teams
A detailed understanding of Animation production process with experience working on Features
Experience working in Lighting/FX departments in proprietary work (Pipeline & Tools) environment (preferred)

Technical Director (TD)

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:13:00 +0000

A Technical Director (TD) provides critical support to a show's artists and department heads. A Technical Director will design, develop, and implement new tools and processes for a particular show or department. As needed, a Technical Director may be asked to do shot work.

Essential duties and responsibilities:

Provides technical support for aiding artists with the completion of computer graphics shots.
Assists artists with troubleshooting and debugging of production issues.
Support and develop tools and procedures, which maintain and enhance the production pipeline.
Create documentation.
Ensure software development follows studio policies and guidelines.
Assist in training and mentoring of other TDs as required and appropriate.
Assist in envisioning studio goals. Can work on goals with supervision.
Works with multiple departments and across multiple areas of Technical Direction.
Develops and implements new computer graphic techniques.
Provide support and development of tools and procedures to extend and enhance the pipeline.
Assist animators and artists with troubleshooting of shots. Issues may include problems with fur, clothing, particle effects, animation, and rendering.
Support and work with multiple departments, including Modeling, Animation, Lighting, FX, and Research and Development.
Work closely with other Technical Directors, Production Supervisors, VFX Supervisors, and Production Engineering to maintain and further the production pipeline.
Assist in training and mentoring of other Entry Level and Associate Technical Directors.

Expectations:

Ability to take direction and work in a team environment.
Ability to pay close attention to detail; oftentimes on repetitive tasks.
“Customer first” mentality and willingness to provide direct support to individuals.
Excellent verbal and written communication skills.
Experience with the Unix environment.
Strong math and programming skills.
Must have a positive attitude.
Ability to support (non-technical) artists teaching or tutoring experience, project roles that interface between developers and clients.
Excellent problem-solving skills involvement in small teams tackling big multi-discipline projects.
Sound computer science knowledge object oriented programming (OOP), design patterns, projects implementing large systems, C++, Python.
experience with computer graphics 3rd party packages like Maya, Max, Lightwave, coursework or other studies in computer graphics, 3D game development.

Compositing Supervisor

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:07:00 +0000

Compositing supervisor is an Occupation normally listed under Visual Effects.

Essential Duties and Responsibilities:

Works with the VFX Supervisor, CG Supervisors, Head of Effects, and Matte Painting Supervisor in defining the use of compositing on the film
Responsible for the implementation and use of compositing on the film to achieve a highly rich, refined, and integrated look in a cost effective manner using Nuke
Facilitates cross departmental communication and schedules for compositing and integration
Raises the level of compositing and knowledge of compositing on the film
Provides and oversees master grade compositing to establish the Master Grade look of the sequence while in production
Oversees interactive sequence compositing sessions with VFX Supervisor, Production Designer and/or Visual Consultant
Supervises Lustre delivery process
Creates and standardizes compositing templates and structure on the show (pre-production)
Defines compositing templates for individual assets
Defines compositing sequence scheme in LSU with Lead Lighter
Defines templates for compositing in lead and production lighting
Defines templates for reoccurring effects
Composites or supervises compositing of complex integration shots
Supervises artist compositing
Supports production management and VFX Sup in budgeting and scheduling for interactive compositing and complex shot compositing
Provides lighting fix and tech fix call outs
Delivers shots to Lustre with mattes
Develops compositing tools and work flows to improve efficiency and the use of compositing
Acts as the single point of contact on show for color theory, LUTs, and color accuracy for Nuke
Trains artists in compositing and Nuke use

Character Technical Director

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 06:02:00 +0000

The Character Technical Director is responsible for constructing 3D character rigs and animation interfaces, and establishing muscle, skin, hair, fur and/or clothing behaviors which range from broad squash and stretch to realistic physical simulations.

Essential Duties and Responsibilities

Design, create, test and maintain character set ups
Work with Modeling to create a model that meets technical needs
Work with R&D to design, debug and evaluate new tools
Collaborate with animators to design motion controls
Develop and maintain character motion and deformation systems
Develop new techniques and processes to solve character production challenges
Work with PE and/or Dept TDs to integrate and maintain setups
Work with FX and CharFX to provide them with information needed to integrate characters and digital effects
Work with Lighting to achieve final model for rendering
Write utility scripts and programs to streamline the setup process
Communicate information about new tools and techniques to others on show and across shows
Facilitate communication between all departments mentioned above
Work with production management to prioritize tasks
Keep supervisors informed of progress, changes, roadblocks and other critical issues
Participate in training, recruiting and other global department tasks as requested

Supervising Animator

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 05:43:00 +0000

The Supervising Animator works closely with the Head of Character Animation, the Production Supervisor, and other Supervising Animators to manage and run the animation department. This person is the creative lead for designated sequences.

Essential Job Responsibilities:

Creative:

May be involved in helping to design characters on a movie by directly providing inspirational drawings and/or having hands on involvement with the Modeling department to finalize the design.
May be involved with initial 2D or 3D tests to help define the personality of the character involved.
Interact with Director to help define the acting requirements on both a sequence and shot basis.
Animate key shots within the sequence that help to define the acting and are an inspiration for other shots within the sequence.
Work with animators to ensure the creative goals by the Director are met. Involves hands-on relationship with the artists, viewing sequences before the Director, and collaborating during Director approvals on shots.
Participate in animation reviews and meetings (dailies, walk-throughs, pre-production meetings, blocking meetings, editorial meetings, etc.).
Track story and continuity issues within the sequence.

Technical:

Assist in the set-up of department structure for the film: hardware, software tools, production process, and training. May also assist in longer term department structure strategies for the studio.
Work closely with the Character TDs, Head of Character Animation , and other Supervising Animators to ensure the performance requirements of the character work with the rig and tools. Also ensure ongoing communications with the Character TD’s to make sure the process runs smoothly.
Work with other Supervising Animators to reach consensus on the rig philosophy and to achieve consistency across all characters (e.g. naming conventions).

Managerial:

Interacts with other departments to ensure acting performance of characters is preserved across all sequences.
Appropriately elevate issues and solutions to Production Management effectively.
Work closely with the Head of Character Animation and Production Supervisor in the management of the department.
Work with the Head of Character Animation and Production Supervisor to hit sequence deadlines and ensure the quotas are met for both shots and sequences.
Work with the Head of Character Animation, Production Supervisor, and Directors on casting shots/assignments to Animators within the sequence.
Responsible for improving the performance of Animators on the team. Mentor Animators to provide guidance, experience and insight. Involved in trying to resolve performance related issues.
Responsible with Production Supervisor for maintaining crew morale. Foster good working atmosphere and ethics.
Deliver reviews with Production Supervisor to crew members; help manage career growth of staff; provide recommendations for promotions.
Work with management in the casting and staffing of talent on the show.
Help with recruiting and perform interviews. Ensure that animation new hires are provided the necessary training.
Responsible for participation in the unification and initiatives for the studio.
Facilitate meetings with artists to keep the crew informed on show changes and requirements.
Ensure open lines of communication with other departments and department heads.

Character Animation Theories And Principles

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 05:33:00 +0000

Anticipation & Overshoot

The most important thing to remember is that great animation doesn't happen from Point A to Point B, it happens at point A and Point B. Meaning that we must show the audience what is going to happen by anticipating the action (Point A) , do the action, then show the audience what just happened by overshooting the pose and settling back in (Point B). I'll use the principles of Squash and Stretch to demonstrate Anticipation and Overshoot.

Download the movie Anticipation.mpg (175kb)

You'll notice 4 balls. The ball on the far left has no anticipation or overshoot. It looks stale and lifeless and doesn't move in a convincing way. The ball in the Left middle has anticipation and overshoot. It anticipates the action by squashing (Pose A), does the action,... then shows the audience what just happened by overshooting it's next resting position (Pose B). We'll call this action the Short Bounce. It has character, moves in a convincing way, and keeps the audience's attention where we want it but it lacks exaggeration.

Exaggerated action is what makes good animation great. Study the Short Bounce for a while and practice the principles behind it in your own animation. It's VERY important to MASTER this action and principles behind it in your own character animation before moving on to The Long Bounce. You must know the basic rules before you can break them.

The next ball in the scene on the Right Middle is very similar to to the Short Bounce except that it breaks a few normal rules of physics by exaggerating the action. We'll call this the Long Bounce. It accelerates much more quickly than the Short Bounce, reaches it pinnacle quicker, shows the audience what it's doing, then finishes the action. Using this principle correctly and in the right spots can add that extra ummph and weight to your action. This is a technique for more advanced animators. Beginners should concentrate on learning how and when to use anticipation and overshoot before attempting to break the rules like this.

The fourth ball on the right hand side is a variation on the long bounce and adds an extra bit of action between Point A and Point B. Its action can be described as Point A to C to B. Instead of traveling in a straight line it follows a slight arc and is even more exaggerated. I call this 'putting the juice in'. For those animators that are more advanced, see how far you can push those extreme poses, then add a little flavor to it by doing something unexpected in between (Point C).

Overlapping Action

The next topic is overlapping action. The easiest way to describe overlapping action is, different parts of your character will move at different speeds and come to rest at different times; meaning... Break up the action. If everything on your character starts and stops at the same time it will look like it was animated on a computer (god forbid that should ever happen).

Download the movie overlap.mpg (175kb)

You'll notice two balls, one resting above the other. Play the animation As the animation plays notice that one ball comes to rest before the other or, OVERLAPS the action of the the first ball. Breaking things up like this is very important for achieving the illusion of life. Make sure your animation has little variations. If you have to repeat the same action three times in a row do each one a little differently.

Progressively Breaking Joints

Using the principle of progressively breaking joints is a way to get that snap, crackle and pop into your animation. This principle basically builds on top of the principle of Overlapping Action. It can most easily be described as a whip or a character throwing a football. First the upper arm rotates in an arc, then the forearm breaks or rotates in an arc and finally the wrist breaks and releases the ball

Download the movie Progressive.mpg (326kb)

You'll see two chains of boxes. Play the animation. The chain on the left bends and all the boxes rotate at the same speed. This is a nice effect but it isn't as dynamic and doesn't have the same appeal or, SNAP as the one on the right. Study the chain on the right. You'll notice that the first link in the chain begins moving before the others, then the second link breaks and begins moving and so on down the chain. Using Progressively Breaking Joints is a good method of emphasizing an action or grabbing your audiences attention.

Arcing Actions and Head Turns

Arcing Actions is a way of saying things don't move in a straight line. It helps to break up your action and give a natural feel to your character. NOTHING moves in a straight line. Even bullets have a slight arc to their trajectory.

Download the movie headturn.mpg (155kb)

Play the animation. Notice the head on the Left turns in a straight line. Even anticipation and overshoot can't help this fellow. Now look at the head on the right. It turns in an arc. Always be aware of your action's arc. It will make your character natural and believable and hopefully your audience won't notice you did it on a computer.

Once you feel comfortable with these theories try adding some character to a simple box or sphere. You'll see what I mean in this timidbox.mpg movie.

Character Animation Theories And Principles

Simple Method for creating Walk Cycles

noreply@blogger.com (Subash) — Mon, 12 Dec 2011 05:20:00 +0000

Animating a walk, where do we begin. Well first we need a character. For today's lesson we're going to use Mr.Stickman. Next we need a clear and simple method of approaching walks in general. I didn't come up with the technique that follows. I gleaned most of this from Richard Williams book 'The Animator's Survival Kit'. If you find this tutorial useful I highly recommend you pick up a copy. We're going to use a pose to pose method to animate today's walk. At 24fps a walk will usually range anywhere from 8 frames per stride for a brisk pace, to 16 frames for a leisurely stroll. In order to be clear I'm going to animate at 24fps and make each stride 12 frames (march time). Let's begin animating a walk with the contact poses. This is basically mid stride where the heel strikes the ground. Contrary to what you might think, this is the part of a walk that has the least amount of weight. It's the pose directly after this, or the down pose that sells the weight. We'll get to that much later. For now let's concentrate on this pose. Go ahead and pose every part of your character on frame 1. Make sure the forward leg striking the ground is straight (knee is not bent) otherwise your character may look like he's carrying a load in the back of his pant's. Also make sure you add a little vertical torsion in the hips and shoulders (i.e., twist the torso slightly). Now advance the time 12 frames (frame13) and do the the next heel strike pose. Remember to key everything on your character. The final heel strike pose will happen 12 frames later on frame 25. It should look something like this.

Now that we have the contact poses set let's start breaking it down by adding the passing poses. Go to frame 7 and pose every part of your character in a passing pose. Make sure to keep the shoulders and hips in opposition to each other and drop the shoulder and hips laterally (i.e. curve the torso slightly, see below). It should look like this.

Now are walk is starting to take shape. Once you get this far the rest is a breeze. As long as the contact and passing poses work you can do just about anything you want with these break down poses and it'll work. For now we're just going to animate a generic walk. Let's break it down further by adding the actual weight bearing pose or down pose between the contact and passing poses (frame 4). The forwrd knee drops and bends, the head shifts forward and the Hips and shoulders tilt. It should be something like this (don't for get to key everything on you character or one pose might wind up affecting a pose you've already worked out).

Now we'll add the striding or up pose between the passing and contact poses (frame 10). This is where your character bounds upward and begins to fall farward. The hips begin moving back toward the centerline so the body will be ready to catch it self with the opposing foot.

We're almost finished. Now it's time to go back and inbetween everything. In your curve editor you'll want to smooth out any nasty bumps or ledges in your curves. You'll also want to make sure you've got a nice steep hard edged curve for the heel striking the ground. At this point the walk is pretty much finished. I like to go through and off set keys on overlapping joints to loosen up everything and give it a more natural feel. Also make sure frame 1 and frame 25 match up perfectly. When you're all done you should wind up with a nice looping walk cycle between frame 1 and 24 (frame 25 is a repeat). Here's what it looks like.

And this is what it looks like in motion.

Using this technique anyone can acheive convincing walk cycles of all types. Now that you've completed a faily generic walk why don't you try animating the following types of walks.

A sneaky walk; a feminine walk; a Strut; a sad walk; a drunk walk; a goofy walk; ect

Good luck and Happy animating

Simple Method for creating Walk Cycles

Beginning of Computer Art

noreply@blogger.com (Subash) — Tue, 29 Nov 2011 05:46:00 +0000

During the 1960s, a few large American computer companies provided equipment to a number of experimental filmmakers. In 1966 IBM set up a research program and hired John Whitney, who made films like Permutations (1968). A few years earlier, Stan VanDerBeek had started to make Poem Fields (1964–70) using the Beflix language devised by Kenneth Knowlton, an engineer at Bell Telephone Laboratories. His experiments were among the first real films made using computer animation. They are abstract films conceived in the pure "underground" spirit.

But they cannot be said to mark the beginning of computer art. American Ben P. Laposky had actually made the first electronic abstracts in 1952; then, in 1960, Germans Kurd Alsleben and William A. Fetter made the first synthetic images on a computer.

At the NFB, starting in the 1960s, computers were used for experimental films. Bernard Longpré (Test 0558, 1965) and Pierre Hébert (Around Perception, 1968) were pioneers. In neither case, however, did the computer actually generate pictures. For Around Perception, Hébert used the computer to create random juxtapositions of shapes cut out of paper.

It was not until 1971 and Metadata, by Peter Foldès, that computer graphics arrived. Foldès, a Hungarian filmmaker who had worked in France, Great Britain and the United States, went on to make Hunger (1974), a film denouncing overconsumption, in which the filmmaker continued the technical research he had begun with Metadata.

In 1981 Pierre Moretti made Graphic Variations on Telidon as a test to illustrate the graphic possibilities of Telidon, a videotext system supported by the Canadian government. In the 1980s, on the initiative of producer Robert Forget, the NFB produced animated segments for Transition (Colin Low, 1987, in stereo) and Emergency (Colin Low and Tony Ianzelo, 1988). For Emergency, Doris Kochanek's animation was transferred to Imax film, a first.

At the same time, Forget produced If Only ... (Marc Aubry, 1988), in which computer animation techniques were applied at some stages of the traditional animation process. Once the animator had done the key drawings on paper, they were digitized and the in-betweens were computer generated. Similarly, inking and painting were also done by computer. Aubry's film showed how the computer could increase the number of layers of images without running up against the density limitations and handling problems inherent in cel animation. In the years following the film, in fact, the entire animation industry gradually shifted to computer processes for these stages. Among the large number of films illustrating this technological shift are Overdose (Claude Cloutier, 1994), The Boy Who Saw the Iceberg (Paul Driessen, 2000), Flux (Chris Hinton, 2002), Noël Noël (Nicolas Lemay, 2003) and Stormy Night (Michèle Lemieux, 2003).

In 1989 Marc Aubry and Michel Hébert made Anniversary, for which they used 3-D computer graphics. Along with Mirrors of Time (Jean-Jacques Leduc, 1990), this was the NFB's foray into the field. Other films followed, such as La Salla (Richard Condie, 1996), Cuckoo, Mr. Edgar! (Pierre M. Trudeau, 1999) and Showa Shinzan (Alison Reiko Loader, 2002). Chris Landreth's Ryan, a documentary on animator Ryan Larkin, completed in 2004, is the acme of composite imagery.

In the 1990s, the computer became one more tool in the hands of filmmakers using traditional techniques. By the end of the decade, most animators were using computers one way or another to make their films. The role of computers became more general and diverse. For example, for La plante humaine (1996), Pierre Hébert digitized his direct-on-film etched images and did the painting by computer. John Weldon, for The Hungry Squid (2002), developed "recyclomation," an ingenious way of working with puppets, photographs and simple software applications. For L’Éternel et le brocanteur (2002), Michel Murray combined live action, photographs and digitized images to create an amazing science-fiction world. Some animators, like Nicolas Brault (Antagonia, 2002), also draw directly on a graphic tablet.

The constant desire of NFB artists to experiment and innovate technically can be seen in the use, for instance, of Imax's SANDDE (Stereoscopic Animation Drawing Device) system, which makes it fairly simple to draw animated films in relief. Munro Ferguson (Falling in Love Again, 2003; June, 2003) and Paul Morstad (Moon Man, 2004) have successfully used this system, developed by Roman Kroitor.

Beginning of Computer Art

Pinscreen

noreply@blogger.com (Subash) — Tue, 29 Nov 2011 05:44:00 +0000

In the early 1930s, engraver Alexandre Alexeïeff, a Russian émigré living in France, decided to go into filmmaking. Wishing to make films with an aesthetic faithful to the line and shading of his engravings, he invented a new type of device: the pinscreen.

The pinscreen consists of a white screen pierced by hundreds of thousands of pins that can slide back and forth, each in its own hole. When lit from the side, each pin casts a shadow, and when all the pins are pushed out, there is total darkness. But when pins are pushed in, their shadows are shorter, and the black become grey. When pins are pushed all the way in, they do not cast shadows and the white screen can be seen.

In 1933 Alexeïeff, with the help of his partner Claire Parker, completed Night on Bald Mountain. In 1943, exiled in North America, Alexeïeff and Parker made En passant for the NFB, where they had been invited by Norman McLaren, a great admirer of theirs.

NFB animators continued to be interested in the pinscreen, and in 1968, musician Maurice Blackburn, one of McLaren's regular collaborators, made a brief foray into directing with a short experimental film titled Ciné-crime. For this film, with its extremely complex concrete soundtrack, he used a smaller version of the device.

In 1972 Alexeïeff and Parker were invited back to the NFB. By this time, the NFB had acquired a full-sized pinscreen, and the two artists gave workshops to train a group of filmmakers. McLaren seized the opportunity to shoot a documentary, Pinscreen.

Their visit had a major impact on the future of the process. It had long been thought that the pinscreen would die with its inventors, but then Jacques Drouin decided to use it for his films. In 1974 he made Trois exercices sur l'écran d'épingles d'Alexeïeff. Then, two years later, he came out from under Alexeïeff’s heavy shadow to express his own tone and style with Mindscape.

After the success of Mindscape, Drouin introduced a technical innovation when he coloured his images by filtering his light sources in Nightangel (1986), co-directed with Czech Bretislav Pojar. This film marries two techniques, as Pojar's puppets play out a story against changing pinscreen backgrounds. Drouin continued his aesthetic research in his next three films: Ex-child (1994), A Hunting Lesson (2001) and Imprints (2004).

Pinscreen

Pixillation

noreply@blogger.com (Subash) — Tue, 29 Nov 2011 05:43:00 +0000

Norman McLaren coined the term pixillation for the stop-motion animation technique that consists in shooting, one frame at a time, characters or objects whose movements are controlled entirely by the filmmaker. He used this technique in Neighbours (1952), a powerful antiwar fable, then in A Chairy Tale (1957) and Opening Speech (1961), two films in which the story turns on the refusal of an everyday object (a chair and a microphone) to behave as expected.

The origins of pixillation go back to the "trick films" using special effects that marked the early years of filmmaking. Examples are some of the tricks of Georges Méliès, the famous El Hotel electrico by Segundo de Chomon (1905) of Spain and Le mobilier fidèle by Roméo Bosetti of France (1912).

More than any other animation technique, pixillation is closely bound to reality. The interaction of actors and objects in a three-dimensional setting introduces a series of references to reality. This has an influence on the choice of subjects dealt with in films that use this technique. It is no accident, for example, that McLaren made his most political works with this process.

Robert Awad made judicious use of the technique, in combination with others, in his parodies of documentaries, The Bronswik Affair (co-directed by André Leduc, 1978) and Amuse-gueule (1983). Yet it was Leduc who made most frequent use of pixillation at the NFB. In three films—Tout écartillé (1974), Monsieur Pointu (co-directed by Bernard Longpré, 1975) and Chérie, ôte tes raquettes (1976)—he explores the technique's potential for fantasy.

The theme of Tout écartillé and Chérie, ôte tes raquettes is the frenzy of the modern world, a theme that Roland Stutz explored further in his Taxi, illustrating a song by Claude Léveillée, a film that exploits the speeded-up effect obtained with pixillation.

Pixillation