Overall I'm happy with the progress I made during this project - actually researching into studios and looking up how to contact them has made me feel a lot better about starting a conversation with them, since all of their work is already in one place, so I can research into them and engage in their practice.
As you're probably fully aware by now, I'm not the best at managing my time during a project. This has faulted me again with the practical element of this submission, since I didn't leave myself enough time to resolve the issues that arose. Despite this, I made a decent animation that I still intend to submit to Loop De Loop once I have fixed the problems with the file, since it would definitely benefit me to submit my work to competitions and external sources, to reach a wider audience and hopefully get noticed by them.
In terms of my showreel, I want to give myself more time in the next month to finish off the current projects I'm working on, as well as some more short sequences, to update my showreel with a standard of work that I'm happy with. For now I'm happy with the 40 second reel I have. I also intend to edit any marketing material and update my websites ready for the exhibition at the Leeds College of Art in June.
My time on the course has taught me a lot about the animation industry and myself as a person, I'm proud of how far I've come and I look forward to the future!
Thursday 19 May 2016
Morpheus Bloopers
So Morpheus broke on me... At first the textures detached from the original source, so they didn't appear when rendered - I sent it to a friend of mine who is good at texturing 3D objects and fixed this issue. However some data got lost in the file he sent back to me which made the legs move position from the original rigging system.
I don't really understand what happened, but it's an issue that's going to take a while to fix and unfortunately I don't have enough time right now to do so since the deadline for this module is today.
This is due to my bad time management of this project, since I didn't give myself very long to complete this film. When animating with Moom previously I had no problems rendering him out, so I assumed Morpheus would be fine too, however after researching online how to fix the problem I found that a lot of people have had issues rendering Morpheus out. It's a shame that I couldn't get it finished for the module deadline tomorrow, however I still have time to fix it before the Loop De Loop submission ends on 29th May.
I don't really understand what happened, but it's an issue that's going to take a while to fix and unfortunately I don't have enough time right now to do so since the deadline for this module is today.
This is due to my bad time management of this project, since I didn't give myself very long to complete this film. When animating with Moom previously I had no problems rendering him out, so I assumed Morpheus would be fine too, however after researching online how to fix the problem I found that a lot of people have had issues rendering Morpheus out. It's a shame that I couldn't get it finished for the module deadline tomorrow, however I still have time to fix it before the Loop De Loop submission ends on 29th May.
 |
| A still of my film, with the legs changed position to how it's supposed to look |
Wednesday 18 May 2016
Practical - The Final Piece (Playblast)
Despite my epic fail using Maya, I still managed to animate Morpheus in a successful loop! Overall I'm happy with the outcome, saying I spent about 4 days working on it.
Some of the movements still look a bit stiff, particularly when he stands up off the floor, which I think would be resolved with some more head and back movement to make it look more natural, as well as applying more secondary action to his arms. Apart from this I like the movement and exaggeration in his walk, and the stretch he does once he stands up (I animated the fingers to stretch further when he leans back but you can't really tell from this camera angle!)
I've learnt how easy it is to animate a walk cycle on Maya - and how easy it is to mess it all up! But I will need a lot more practice in 3D animating to get to a better standard.
Some of the movements still look a bit stiff, particularly when he stands up off the floor, which I think would be resolved with some more head and back movement to make it look more natural, as well as applying more secondary action to his arms. Apart from this I like the movement and exaggeration in his walk, and the stretch he does once he stands up (I animated the fingers to stretch further when he leans back but you can't really tell from this camera angle!)
I've learnt how easy it is to animate a walk cycle on Maya - and how easy it is to mess it all up! But I will need a lot more practice in 3D animating to get to a better standard.
Archive, Heritage and Exhibitions Intern...
My classmate shared an opportunity with us all that I thought looked quite interesting. It's not very specific to the animation industry, but becoming an intern anywhere and showing people that you have the basic skills required for most jobs with the experience you have on your CV is ultimately a good thing.
It would be a good opportunity to learn how a company works nonetheless, and the start date is perfect timing for when I plan to move out of Leeds. Originally I was going to have a break for a month or two first as I search for a job, but if the opportunity arises to start working in June or July, then I'll take it.
http://www.bafta.org/jobs/archive-heritage-exhibitions-intern
It would be a good opportunity to learn how a company works nonetheless, and the start date is perfect timing for when I plan to move out of Leeds. Originally I was going to have a break for a month or two first as I search for a job, but if the opportunity arises to start working in June or July, then I'll take it.
http://www.bafta.org/jobs/archive-heritage-exhibitions-intern
Manchester Animation Festival - Intentions to Submit
As I have been thinking of ways to put my work out there and get in touch with industry professionals, I saw an advert for submitting short films to Manchester Animation Festival.
Unfortunately I didn't attend the festival last year, but those who went in my class seemed to believe it was a good experience - similar to Bradford Animation Festival (which got cancelled last year). The event will take place in November, and submissions are open from now until 29th July, which is plenty of time after uni is over to definitely make sure I have a finished film to submit.
The film I'd like to finish off and submit is my Extended Practice final piece, since it is my most recent major project, and will advertise my capabilities as an animator to audiences as I develop my practice and contacts in the industry. My film isn't finished yet, but it should be by the uni's exhibition on 10th June, and once it is I will submit it to the 'Student Films' category.
In the meantime, I just need to keep working on my film and keep an eye out for updates about the festival, since I'd like to see if I can apply to be a volunteer there as well. It looks like an amazing opportunity to meet the guest speakers, watch the screenings, and meet new people who have similar interests to me.
If becoming a volunteer doesn't work out, I'd like to attend the event anyway, since similar opportunities will arise if I give them the chance to.
Unfortunately I didn't attend the festival last year, but those who went in my class seemed to believe it was a good experience - similar to Bradford Animation Festival (which got cancelled last year). The event will take place in November, and submissions are open from now until 29th July, which is plenty of time after uni is over to definitely make sure I have a finished film to submit.
The film I'd like to finish off and submit is my Extended Practice final piece, since it is my most recent major project, and will advertise my capabilities as an animator to audiences as I develop my practice and contacts in the industry. My film isn't finished yet, but it should be by the uni's exhibition on 10th June, and once it is I will submit it to the 'Student Films' category.
In the meantime, I just need to keep working on my film and keep an eye out for updates about the festival, since I'd like to see if I can apply to be a volunteer there as well. It looks like an amazing opportunity to meet the guest speakers, watch the screenings, and meet new people who have similar interests to me.
If becoming a volunteer doesn't work out, I'd like to attend the event anyway, since similar opportunities will arise if I give them the chance to.
Tuesday 17 May 2016
Showreel
So it's finally time to review my work over the duration of the course and add my best assets into one showreel...
There was a period between the end of second year and my dissertation hand in where I didn't animate much, so I don't have as much to show for myself as a third year as I'd have liked. However after a few talks with my tutor it was clear that less is more - his main advice was to only put work that you're definitely happy with, even if it means your showreel is only 20-30 seconds long.
This makes sense, since if you have loads of work you're not completely proud of in there then potential employers will see that too.
The only difference between these showreels is a 2 second clip I initially put in. The Propercorn advert I collaborated on with Cara Lambert at the time was some of my best work, but my drawing skills have developed since then. At first I felt I needed more than 3 animations to show off my skills, however I think this two second clip sticks out compared to the rest. If I had more shorter clips in, like in my previous showreel, then the propercorn clip would work better, but taking my tutors advice "less is more" is a better option to show off my best work.
In comparison to my 2015 showreel, I think overall I prefer the tempo of the first reel; some of the work in it is not at a high standard, however with the changing clips and music to go with it, it made the film to the point and easier to watch. Despite this I'm happy with the showreel I have for now - I intend to finish off those works and create some more short animations in the next couple of months, so I can update it when I see fit and as I apply to jobs.
There was a period between the end of second year and my dissertation hand in where I didn't animate much, so I don't have as much to show for myself as a third year as I'd have liked. However after a few talks with my tutor it was clear that less is more - his main advice was to only put work that you're definitely happy with, even if it means your showreel is only 20-30 seconds long.
This makes sense, since if you have loads of work you're not completely proud of in there then potential employers will see that too.
The only difference between these showreels is a 2 second clip I initially put in. The Propercorn advert I collaborated on with Cara Lambert at the time was some of my best work, but my drawing skills have developed since then. At first I felt I needed more than 3 animations to show off my skills, however I think this two second clip sticks out compared to the rest. If I had more shorter clips in, like in my previous showreel, then the propercorn clip would work better, but taking my tutors advice "less is more" is a better option to show off my best work.
In comparison to my 2015 showreel, I think overall I prefer the tempo of the first reel; some of the work in it is not at a high standard, however with the changing clips and music to go with it, it made the film to the point and easier to watch. Despite this I'm happy with the showreel I have for now - I intend to finish off those works and create some more short animations in the next couple of months, so I can update it when I see fit and as I apply to jobs.
Friday 13 May 2016
Practical - Animating Progress
After reviewing my initial tests, I kept the original walk cycle and started fresh with him falling over. I made him pause for a second when he stumps his foot, and then fall flat on his face whilst swinging his arms back - which I think works better since the movement is a lot faster and sudden, which adds the comedic value to the shot.
Standing him back up was difficult, because his legs can only move to certain angles, so as he moves up his foot goes through the floor for a couple of frames... I think the movement is good but a bit stiff as he rolls his arms back and forth. If I have time I will add more movement to his back and head, to give it more secondary action and look more natural.
Standing him back up was difficult, because his legs can only move to certain angles, so as he moves up his foot goes through the floor for a couple of frames... I think the movement is good but a bit stiff as he rolls his arms back and forth. If I have time I will add more movement to his back and head, to give it more secondary action and look more natural.
Thursday 12 May 2016
Practical - Starting the Animation
For my practical piece, I want to refresh my memory in Maya and animating a walk cycle, and I thought the best opportunity to do this would be for Loop De Loops theme of the month 'Tumble'.
At first I considered getting a couple of my classmates to design characters for me to animate in different styles - this would have been performed with 2D animation, which is my most comfortable technique to use; However I thought trying out 3D software again would be good practice for me.
There are a few rigs that I have wanted to try out for a while, but never got around to it. So far working with Morpheus has been pretty smooth (apart from his breaking knees), the rig is easy to control with a number of joints and a few more capabilities then Moom...
I wanted to try an exaggerated walk cycle to create an upbeat, overconfident character, so I created this initial test. I am happy with how it's turned out, however I think I could exaggerate the poses even more, to create a more lively performance.
I thought the animation would be funny if he tripped over a bump in the road, and went to carry on walking to then fall over; however this first test looks strange in that he moves his leg forward as if to take another step, and then moves his leg back as he falls over.
I like that he falls flat on his face, but I will edit the movement so that he falls over straight away, rather than delaying it and moving him forwards.
At first I considered getting a couple of my classmates to design characters for me to animate in different styles - this would have been performed with 2D animation, which is my most comfortable technique to use; However I thought trying out 3D software again would be good practice for me.
There are a few rigs that I have wanted to try out for a while, but never got around to it. So far working with Morpheus has been pretty smooth (apart from his breaking knees), the rig is easy to control with a number of joints and a few more capabilities then Moom...
I wanted to try an exaggerated walk cycle to create an upbeat, overconfident character, so I created this initial test. I am happy with how it's turned out, however I think I could exaggerate the poses even more, to create a more lively performance.
I thought the animation would be funny if he tripped over a bump in the road, and went to carry on walking to then fall over; however this first test looks strange in that he moves his leg forward as if to take another step, and then moves his leg back as he falls over.
I like that he falls flat on his face, but I will edit the movement so that he falls over straight away, rather than delaying it and moving him forwards.
Wednesday 11 May 2016
The Dots
One thing I have realised whilst searching for a job in the animation industry is that there aren't very many advertised right now. I think looking at specific companies I'm interested in to see if they're advertising any internships or junior positions would be the best way to go (since there's more likely a job I'd want there), but another alternative is search engines.
My classmate told us about 'The Dots' which is an engine specifically designed to advertise creative jobs! Whilst searching you can list specific aspects of a job you'd want, such as the position, location, level, and a list of your skills - which all sounds fancy, but after listing the specific skills and position I'd like to go into nothing comes up on the list.
My classmate told us about 'The Dots' which is an engine specifically designed to advertise creative jobs! Whilst searching you can list specific aspects of a job you'd want, such as the position, location, level, and a list of your skills - which all sounds fancy, but after listing the specific skills and position I'd like to go into nothing comes up on the list.
So instead I had to widen my requirements to none specific skills or levels, and I found this stop motion animator advertisement:
The job requirements and tasks aren't very specific, but this opportunity could be interesting to consider. The contract is only for a month but earning a lot of money in that time. The main softwares are DragonFrame, Photoshop and Illustrator - all of which I can use. And it would give me some experience to put on my CV, as well as opening up opportunities for more work and gaining another contact (in the employer). It would also be a good opportunity for me to practice using Stop Motion more, since at the moment it's my least used technique (despite me really enjoying using it).
When my CV is completely put together and ready to submit, I will see if this advertisement is still available and potentially apply to it as one of my first jobs.
Social Networking Sites
Since a lot of the creative industry operates online, I made several profiles on various websites to promote myself as an animator. It has proven to be an easier way to communicate with people, since fans get to ask direct questions to companies all over the world, as well as being able to document their own work for everybody to see.
One point I should consider for my accounts is to make a square icon for a business card to work as profile pictures, to create a complete collection of social media accounts that all link back to me. Apart from this, I think that I have done quite well to establish my online presence, and it will give me a reason to animate and update my profiles if nothing else!
https://www.linkedin.com/in/alex-neild-353630a8?trk=hp-identity-name
https://twitter.com/AlexAnimates95
http://aneild95.tumblr.com/
https://www.youtube.com/channel/UCwMKgyessTrzrBDkDMjXtWg
https://vimeo.com/alexanimates
https://www.instagram.com/alexanimates95/
http://alexandraneild.wix.com/alexanimates
One point I should consider for my accounts is to make a square icon for a business card to work as profile pictures, to create a complete collection of social media accounts that all link back to me. Apart from this, I think that I have done quite well to establish my online presence, and it will give me a reason to animate and update my profiles if nothing else!
 |
 |
 |
| Tumblr |
 |
| Youtube |
https://www.youtube.com/channel/UCwMKgyessTrzrBDkDMjXtWg
 |
| Vimeo |
 |
 |
| Wix Website |
Monday 11 April 2016
Loop De Loop
As a practical piece of animation I'd like to do, I think Loop De Loop is a good competition to enter since the themes are usually quite vague and they accept any type of animation, at any length, as long as it loops. It will also be seen by a variety of people, and the best entries will also be screened in Australia!
Since a new theme is usually released every two months, that leaves room for flexibility in scheduling when to animate a piece for it, which is ideal for me since these next two months will be dedicated to finishing my final project for Extended Practice.
The latest theme is 'Tumble'; There's lots of different ways to interpret the word 'tumble', including tumble weeds, an object rolling along, or even a gymnast performing a routine. This theme was decided in February, however since their website is under development right now it seems they are busy with getting that up and running, since the theme hasn't been changed since then; I'd like to animate for this theme anyway, since it will be a good opportunity for me to practice the basics of animation again.
Walk Cycles from Tomas Jech on Vimeo.
I'm excited to develop this idea and see what kind of characters I will be able to animate!
Since a new theme is usually released every two months, that leaves room for flexibility in scheduling when to animate a piece for it, which is ideal for me since these next two months will be dedicated to finishing my final project for Extended Practice.
The latest theme is 'Tumble'; There's lots of different ways to interpret the word 'tumble', including tumble weeds, an object rolling along, or even a gymnast performing a routine. This theme was decided in February, however since their website is under development right now it seems they are busy with getting that up and running, since the theme hasn't been changed since then; I'd like to animate for this theme anyway, since it will be a good opportunity for me to practice the basics of animation again.
The way I'd like to interpret it is a person falling over as they're walking or running - I think it could create a simple yet comedic animation that would allow me to practice a run cycle (or various ones). I could either use 2D or 3D to animate this idea.
If I use 2D, then I'd have to create a character for it - since a few of my classmates enjoy character designing I want to ask them if they could create one for me. In doing this I can practice animating and drawing in different styles, as well as considering the character's personality to determine what type of walk or run they'd have. Having a variety of these walk cycles would be good for my showreel, since I would be able to demonstrate the different animation styles I can animate, as well as portraying the personality traits of each.
My main inspiration for this is this showreel from Tomas Jech, an animator who's showreel demonstrates the same character being animated in various ways. The quality of animation is very good, and showing this one character in a variety of ways allows him to demonstrate his skills in this particular style.
Walk Cycles from Tomas Jech on Vimeo.
I'm excited to develop this idea and see what kind of characters I will be able to animate!
Blue-Zoo Animation Studio
Blue-Zoo are an animation studio located in Central London, who work on children's TV series, short films, commercials and apps. Some of their employees set up a live broadcasting session this lunchtime to do a Q&A with the general public over Facebook.
The jist of the conversation I caught was comparing animating for TV as opposed to feature films, saying since TV studios are generally smaller, their employees get more opportunities to animate for their projects, which in turn allows them to develop their skills faster.
One of the reoccurring questions on the live feed was asking them for tips on how to get into the industry - what qualities employees look for in a junior animator. They said as well as having a good attitude and a certain skill level, an animator should demonstrate that they are good at thinking of creative ideas and are generally on the ball and can contribute to the creative solutions a project can undertake. Anyone can be taught the technical side of how to animate, being able to think creatively will give you the edge in the industry.
I only caught the end of the broadcast, however they are planning to do more live talks, the next one being in a few weeks. This one only lasted half an hour during lunchtime, so it will be a good one to look out for and watch to get more advice from professionals in the industry.
The jist of the conversation I caught was comparing animating for TV as opposed to feature films, saying since TV studios are generally smaller, their employees get more opportunities to animate for their projects, which in turn allows them to develop their skills faster.
One of the reoccurring questions on the live feed was asking them for tips on how to get into the industry - what qualities employees look for in a junior animator. They said as well as having a good attitude and a certain skill level, an animator should demonstrate that they are good at thinking of creative ideas and are generally on the ball and can contribute to the creative solutions a project can undertake. Anyone can be taught the technical side of how to animate, being able to think creatively will give you the edge in the industry.
I only caught the end of the broadcast, however they are planning to do more live talks, the next one being in a few weeks. This one only lasted half an hour during lunchtime, so it will be a good one to look out for and watch to get more advice from professionals in the industry.
 |
| Some of the questions that were asked during the broadcast. |
Thursday 7 April 2016
Robert Crawford - My Skype Conversation with an Employee of DreamWorks
After emailing Robert Crawford a few weeks ago, I almost instantly received a reply back saying he's interested in talking to me about any questions I might have, so we arranged a meeting over Skype to start the conversation off! This took place yesterday, and I believe it went well.
He asked me about my favourite part of the animation process and my course, which lead on to his comparison of his experience at university and how it felt to find a job in the industry - I didn't get chance to ask him more about this, since he lead on to his current job at DreamWorks; however his LinkedIn page lists every job he has had - which films he's been involved in and the role he took in them. He describes himself as a cinematographer rather than an animator, since he's worked on live action films too and focuses more on the set up of the shot rather than the movements of the characters on screen.
As the head of layout at DreamWorks, he's in contact with everyone involved in the filmmaking process - the storyboard artists fabricate the plot line and character interactions for the film, then the head of layout considers all of the smaller details and how the shots will work together, which he then proposes to the animators to explain his reasoning behind the decisions he made; the whole time keeping constant contact with the animators to ensure their questions are answered and they're performing the sequences right.
Since he's in contact with animators all the time, I could ask him about what kind of schedules they keep and what it's like from their point of view to work somewhere like DreamWorks - basically they work to quotas rather than deadlines, so they are assigned certain scenes to work on within a time frame, such as blocking out the keyframes in a sequence or animating a certain movement, and if they finish it earlier than expected then they are free to do as they please for the rest of the day, and nobody really minds.
Crawford described the working environment at DreamWorks similar to Google's - very relaxed with a lot of activities such as table tennis available for the employees - a home away from home basically, with 3 meals a day provided, plenty of coffee, and the option to either get these meals for free (out of your pay check) or earn more money (either option seems to allow you to be quite well off). As long as you get the work expected of you done to a high standard, then they are happy for you to relax and enjoy yourself in their facilities.
He mentioned that all workplaces are different, for example Pixar tend to work in groups during their projects and only talk to the people in their group, whereas DreamWorks's directors walk around the whole studio casually talking to each animator about their work and how they're getting on, as well as being able to see the progress and be able to provide regular feedback to everyone. Based on this it sounds like the latter is a more open, and overall better company to work for, however I don't know much about how other companies actually work, so I won't make too many assumptions.
One last bit of advice he left me with (for now) is to not worry about peoples reactions to my work; it was more of a warning really, your piers may like the work you've done, but you may not have understood the brief properly, so they will pick it apart and leave you with a lot of notes until there's nothing left of the initial work you've done (particularly in the early stages of production). This may be down to their explanations and the way you understand them, but Crawford explained to me it's OK to not understand something. Despite all of this he said I shouldn't take it personally and loose confidence in myself or my work, and that most critical feedback tends to be sugarcoated anyway. I have been told this before in different ways, but I need to brace myself for receiving feedback on the spot that might not be the best.
The conversation lasted about 45 minutes and was cut short due to personal reasons, but Crawford is happy to keep in contact with me and provide any advice I might need as I try to find my way into the industry. This has definitely given me the confidence to keep in contact, and has shown me just how important networking is!
He asked me about my favourite part of the animation process and my course, which lead on to his comparison of his experience at university and how it felt to find a job in the industry - I didn't get chance to ask him more about this, since he lead on to his current job at DreamWorks; however his LinkedIn page lists every job he has had - which films he's been involved in and the role he took in them. He describes himself as a cinematographer rather than an animator, since he's worked on live action films too and focuses more on the set up of the shot rather than the movements of the characters on screen.
As the head of layout at DreamWorks, he's in contact with everyone involved in the filmmaking process - the storyboard artists fabricate the plot line and character interactions for the film, then the head of layout considers all of the smaller details and how the shots will work together, which he then proposes to the animators to explain his reasoning behind the decisions he made; the whole time keeping constant contact with the animators to ensure their questions are answered and they're performing the sequences right.
Since he's in contact with animators all the time, I could ask him about what kind of schedules they keep and what it's like from their point of view to work somewhere like DreamWorks - basically they work to quotas rather than deadlines, so they are assigned certain scenes to work on within a time frame, such as blocking out the keyframes in a sequence or animating a certain movement, and if they finish it earlier than expected then they are free to do as they please for the rest of the day, and nobody really minds.
Crawford described the working environment at DreamWorks similar to Google's - very relaxed with a lot of activities such as table tennis available for the employees - a home away from home basically, with 3 meals a day provided, plenty of coffee, and the option to either get these meals for free (out of your pay check) or earn more money (either option seems to allow you to be quite well off). As long as you get the work expected of you done to a high standard, then they are happy for you to relax and enjoy yourself in their facilities.
He mentioned that all workplaces are different, for example Pixar tend to work in groups during their projects and only talk to the people in their group, whereas DreamWorks's directors walk around the whole studio casually talking to each animator about their work and how they're getting on, as well as being able to see the progress and be able to provide regular feedback to everyone. Based on this it sounds like the latter is a more open, and overall better company to work for, however I don't know much about how other companies actually work, so I won't make too many assumptions.
One last bit of advice he left me with (for now) is to not worry about peoples reactions to my work; it was more of a warning really, your piers may like the work you've done, but you may not have understood the brief properly, so they will pick it apart and leave you with a lot of notes until there's nothing left of the initial work you've done (particularly in the early stages of production). This may be down to their explanations and the way you understand them, but Crawford explained to me it's OK to not understand something. Despite all of this he said I shouldn't take it personally and loose confidence in myself or my work, and that most critical feedback tends to be sugarcoated anyway. I have been told this before in different ways, but I need to brace myself for receiving feedback on the spot that might not be the best.
The conversation lasted about 45 minutes and was cut short due to personal reasons, but Crawford is happy to keep in contact with me and provide any advice I might need as I try to find my way into the industry. This has definitely given me the confidence to keep in contact, and has shown me just how important networking is!
Wednesday 6 April 2016
MPC
As I've been looking for a potential job after I graduate, a friend of mine told me about a VFX company called MPC, who have worked on various films and advertising campaigns such as Harry Potter, Guardians of the Galaxy, and the recently released Batman vs Superman.
Apparently they are open to hiring students/recent graduates into their company, as long as they can see a certain amount of skill then they would like to help you develop your creativity.
They have studios based all over the world, in London, Paris, Amsterdam, L.A., New York, Montreal, Bangalore, Shanghai, with many opening positions in both filmmaking and advertising. There are a few different animating roles, including a character animator, technical animator, and a 3D generalist (for advertising) which all have similar requirements and responsibilities within their jobs.
The one that stood out to me the most is the "runner" position; I know it's not actually getting involved in the creative side of a project, but as a beginner who has never worked in a professional studio before, this job could be a good starting point to gain the experience of being in the working environment of an animation studio. The description says it would give me the chance to talk to everyone in the studio, making sure they're happy, cleaning the studio and making sure the day is going smoothly for everyone; talking to these professionals about their jobs and seeing them in action could be a good way for me to decide if working in a studio environment is the best plan for my future.
A lot of animation studios have runners, which is usually the bottom ranked position, however if they can prove themselves to be a team player and enthusiastic then eventually they can earn promotions and slowly learn how the company works. If I did take this route into the industry it would also allow me the space to observe the various different jobs within the studio and I can figure out which type of animation role would suit me best.
Previous lectures run by Double Negative at Bradford Animation Festival have given me a basic knowledge of how visual effects animation works; it's one of the main forms of animation that has come to light with the use of computer generated technology. Since ultimately I would love to be able to work in the film industry through animation, VFX could be an option for me to get there; the combination of live action footage with animation over the top is a commonly used art form in Hollywood and the film industry, so being able to work for a big company such as MPC or Double Negative would be a good step to take to have the chance to work on films.
Apparently they are open to hiring students/recent graduates into their company, as long as they can see a certain amount of skill then they would like to help you develop your creativity.
They have studios based all over the world, in London, Paris, Amsterdam, L.A., New York, Montreal, Bangalore, Shanghai, with many opening positions in both filmmaking and advertising. There are a few different animating roles, including a character animator, technical animator, and a 3D generalist (for advertising) which all have similar requirements and responsibilities within their jobs.
The one that stood out to me the most is the "runner" position; I know it's not actually getting involved in the creative side of a project, but as a beginner who has never worked in a professional studio before, this job could be a good starting point to gain the experience of being in the working environment of an animation studio. The description says it would give me the chance to talk to everyone in the studio, making sure they're happy, cleaning the studio and making sure the day is going smoothly for everyone; talking to these professionals about their jobs and seeing them in action could be a good way for me to decide if working in a studio environment is the best plan for my future.
A lot of animation studios have runners, which is usually the bottom ranked position, however if they can prove themselves to be a team player and enthusiastic then eventually they can earn promotions and slowly learn how the company works. If I did take this route into the industry it would also allow me the space to observe the various different jobs within the studio and I can figure out which type of animation role would suit me best.
 |
| The description of the animator |
 |
| The description for the runner |
Previous lectures run by Double Negative at Bradford Animation Festival have given me a basic knowledge of how visual effects animation works; it's one of the main forms of animation that has come to light with the use of computer generated technology. Since ultimately I would love to be able to work in the film industry through animation, VFX could be an option for me to get there; the combination of live action footage with animation over the top is a commonly used art form in Hollywood and the film industry, so being able to work for a big company such as MPC or Double Negative would be a good step to take to have the chance to work on films.
VFX animation isn't something I had considered doing before, (I love purely animated films too much to have considered anything else before) however getting the experience of working in this studio could lead me onto other animation jobs, or if I fall in love with VFX I could continue on in this studio to develop my skills as an animator.
Sunday 13 March 2016
Studio Liddell
Studio Liddell are an animation company based in Manchester, with various work to show for them selves in areas such as advertising, TV shows, and web designs. Some of these works are famous, and working internationally with people all over the world makes them seem like an experienced company who knows what they're doing.
Their work shows a big variety in mediums used to animate, and a lot of it seems to be aimed at children due to the round, friendly character designs. The showreel itself moves very fast, since each clip is only about 3 seconds long, so it's hard to follow at times, but it really shows the breadth of their capabilities as a studio. (Follow the link to see the showreels) http://www.studioliddell.com/reels
I would like to contact them to see if they are available for me to visit the studio for a tour, and conversation with the team, since I think it would be an insightful experience to see how a studio environment works.
Their work shows a big variety in mediums used to animate, and a lot of it seems to be aimed at children due to the round, friendly character designs. The showreel itself moves very fast, since each clip is only about 3 seconds long, so it's hard to follow at times, but it really shows the breadth of their capabilities as a studio. (Follow the link to see the showreels) http://www.studioliddell.com/reels
I would like to contact them to see if they are available for me to visit the studio for a tour, and conversation with the team, since I think it would be an insightful experience to see how a studio environment works.
 |
| Their homepage |
Wednesday 9 March 2016
Dave Alex Riddett
This morning we had the pleasure of meeting the director of photography at Aardman, Dave Alex Riddett, who spoke to us about what it's like to be in the animation industry.
He started by describing how he came to be in the industry; starting off as a student in Leicester and then here in Leeds, to then basing himself in Bristol after his studies into film. It was in the 1970s when this happened, which is the same time as Peter Lord and David Sproxdon's start up for the Aardman Animation Studios. Riddett joined the company at the same time as Nick Park, in 1985, where they animated several commercials (this was apparently the fastest way to earn money at the time), which eventually lead onto the short and feature length films we all know and love.
One part of the process he particularly loves is photography (a feeling I can relate to!), and talked about his favourite tool, the bolex camera. It was one of the cameras he used to create the short films in his early days; since there was no way to digitally edit films at the time he relied purely on the camera work to produce the final image nicely.
Jumping from this to the present, he showed us a lot of behind the scenes photos and footage from various films, particularly the recent Shaun the Sheep film; firstly describing how they used to rig characters - on the old Wallace and Gromit films the models were quite small, so the poles and wires used to hold them in place and to make them easier to move were a lot smaller, compared to the rigs used in todays films. In the image below you can see the elaborate system used to animate shaun the sheep.
He also discussed what's expected of an animator at Aardman and some of the techniques they use to film and edit footage, using 'The Wrong Trousers' (1993) as an example in comparison to 'Pirates! An Adventure with Scientists' (2012).
The Wrong Trousers was filmed using tricks of the camera and no post production; for example in the train track chase scene they used a long exposure setting and moved the background to create the illusion of movement. Whereas Pirates had a bigger budget, therefore they could use multiple character models, swap out the mouths to animate the lip syncing and shoot every scene twice - once with and once without characters in - to paint out the rigs used to animate them and keep the backgrounds exactly the same.
In most of their productions throughout, if there's a scene involving a hill they usually build the set flat so it lies horizontal to the floor, and set the camera up at a different angle.
It was great to hear loads of cool tricks behind the Aardman films, and to see such an elaborate presentation and development videos to see the process into setting up the shots, (he even brought in actual models from Shaun the Sheep!) It has definitely inspired me to learn more about stop motion and animating!
He started by describing how he came to be in the industry; starting off as a student in Leicester and then here in Leeds, to then basing himself in Bristol after his studies into film. It was in the 1970s when this happened, which is the same time as Peter Lord and David Sproxdon's start up for the Aardman Animation Studios. Riddett joined the company at the same time as Nick Park, in 1985, where they animated several commercials (this was apparently the fastest way to earn money at the time), which eventually lead onto the short and feature length films we all know and love.
One part of the process he particularly loves is photography (a feeling I can relate to!), and talked about his favourite tool, the bolex camera. It was one of the cameras he used to create the short films in his early days; since there was no way to digitally edit films at the time he relied purely on the camera work to produce the final image nicely.
 |
| Bolex Camera |
Jumping from this to the present, he showed us a lot of behind the scenes photos and footage from various films, particularly the recent Shaun the Sheep film; firstly describing how they used to rig characters - on the old Wallace and Gromit films the models were quite small, so the poles and wires used to hold them in place and to make them easier to move were a lot smaller, compared to the rigs used in todays films. In the image below you can see the elaborate system used to animate shaun the sheep.
 |
| A behind the scenes photo of the process into animating with rigs, from Shaun the Sheep |
The Wrong Trousers was filmed using tricks of the camera and no post production; for example in the train track chase scene they used a long exposure setting and moved the background to create the illusion of movement. Whereas Pirates had a bigger budget, therefore they could use multiple character models, swap out the mouths to animate the lip syncing and shoot every scene twice - once with and once without characters in - to paint out the rigs used to animate them and keep the backgrounds exactly the same.
In most of their productions throughout, if there's a scene involving a hill they usually build the set flat so it lies horizontal to the floor, and set the camera up at a different angle.
 |
| Wallace and Gromit 'The Wrong Trousers' (1993) |
It was great to hear loads of cool tricks behind the Aardman films, and to see such an elaborate presentation and development videos to see the process into setting up the shots, (he even brought in actual models from Shaun the Sheep!) It has definitely inspired me to learn more about stop motion and animating!
 |
| The models used in the film 'Shaun the Sheep' |
Tuesday 8 March 2016
Toon Boom... Harmony Advanced
The newest edition to the Toon Boom software club is 'Harmony'. As stated on their website, a lot of the big animation companies (such as Disney and Dreamworks) are using it, so I thought I'd complete the 21 day free trial to test it out.
This is the default screen that appears once you open the software:
The layout of it reminds me of a combination of Photoshop and After Effects, which immediately put me at ease. After some observation, I noticed the tools available are similar to those in the Adobe products as well.
There are a few textured brushes available, but not as bigger variety as Photoshop has; this isn't necessarily a bad thing, since creating the basic animation should only require a basic line, which can be edited in other softwares.
I haven't actually animated with it yet, but it looks good so far, and easy enough to import images, so it could become a good tool for me to use in the future.
This is the default screen that appears once you open the software:
The layout of it reminds me of a combination of Photoshop and After Effects, which immediately put me at ease. After some observation, I noticed the tools available are similar to those in the Adobe products as well.
There are a few textured brushes available, but not as bigger variety as Photoshop has; this isn't necessarily a bad thing, since creating the basic animation should only require a basic line, which can be edited in other softwares.
I haven't actually animated with it yet, but it looks good so far, and easy enough to import images, so it could become a good tool for me to use in the future.
Tuesday 1 March 2016
Animating Software
Over the past few weeks I have been researching what type of animation jobs are available in the industry right now, and the qualifications required to apply to these positions; I have realised that softwares such as After Effects and Toon Boom are common knowledge within the industry, however these are softwares I'm not entirely comfortable using. I have made most of my main animations during this university course in Photoshop, since I found the timeline easier to navigate, so I could produce decent work quickly.
However Photoshop isn't actually an animating tool, and I now realise I'm going to have to explore other software choices so that I have a variety of skills under my belt for when I apply to jobs.
I've learnt bits and pieces of After Effects during my time in Leeds, despite these tutorials I've never needed to use it before, so I find it harder to remember; we are currently having small sessions every couple of weeks in Extended Practice to refresh my memory into the software, but I think I will need more practice.
TV Paint is apparently a popular software among professionals to use as an animating tool - I've never really heard of it before but I will download it (within this next year) and try it out!
'Toon Boom Harmony' is an updated version of Toon Boom that's been around for a while; I will also download this to experiment and compare it to TV Paint.
I might have to wait until I finish uni before trying these out properly, since I don't have much time right now and I need to get on with my own work on software that I'm familiar with, however I think it'll be good for me to broaden my horizon and expand my skill set.
However Photoshop isn't actually an animating tool, and I now realise I'm going to have to explore other software choices so that I have a variety of skills under my belt for when I apply to jobs.
I've learnt bits and pieces of After Effects during my time in Leeds, despite these tutorials I've never needed to use it before, so I find it harder to remember; we are currently having small sessions every couple of weeks in Extended Practice to refresh my memory into the software, but I think I will need more practice.
TV Paint is apparently a popular software among professionals to use as an animating tool - I've never really heard of it before but I will download it (within this next year) and try it out!
'Toon Boom Harmony' is an updated version of Toon Boom that's been around for a while; I will also download this to experiment and compare it to TV Paint.
I might have to wait until I finish uni before trying these out properly, since I don't have much time right now and I need to get on with my own work on software that I'm familiar with, however I think it'll be good for me to broaden my horizon and expand my skill set.
Saturday 20 February 2016
Flipbook Studio
This is another animation company based in Manchester. Primarily focusing on 3D animation and VFX, I have to say their work looks outstanding. On the opening page to their website plays a looping showreel of their best moments, and at a first glance I thought this image of a girl was a film of a real person:
After looking further through their website at the contact details, I scrolled down to find this advertisement for a CG Generalist to join their team! It's a vague description for the moment, but it's enough to be able to consider how interested I am in this opportunity. I will consider it as an option, but for now I think I'll contact them to see if they're available for a studio visit soon, since they specifically pointed out on their site their location in an inviting manner.
Once it zooms out you can tell it's CG, but the detail on the paint and eye textures is impeccable.
They have worked on a lot of various things, including a few advertisements that I recognise! This Resolva Commercial particularly used to be on TV a lot, and I always admired how well animated it is. Now knowing who's behind it, I'm keen to find out more about this company!
After looking further through their website at the contact details, I scrolled down to find this advertisement for a CG Generalist to join their team! It's a vague description for the moment, but it's enough to be able to consider how interested I am in this opportunity. I will consider it as an option, but for now I think I'll contact them to see if they're available for a studio visit soon, since they specifically pointed out on their site their location in an inviting manner.
If nothing else, I will use this as an opportunity to build up my network, and hopefully meet some new people that I can get advice from later.
Tuesday 16 February 2016
DreamWorks Animation Studio
A few days ago I received the email address of Robert Crawford, the head of layout at DreamWorks Animations! My Aunt, who lives in the Cook Islands (on the other side of the world), owns a cafe there, and he just happened to be on holiday. After being told about me, he gave his email address and said I could email him about anything...
I wanted the first point of contact to be casual, yet sound professional at the same time. I explained how I got his email address and asked him what it's like to work at DreamWorks; a short email that shows I'm interested in the company.
After knowing that I have an important contact in the company, I did some research into what type of jobs are offered at DreamWorks; there's a specific section on their website which talks about how they want to hire and train recent graduates from around the world to work for them!
I wanted the first point of contact to be casual, yet sound professional at the same time. I explained how I got his email address and asked him what it's like to work at DreamWorks; a short email that shows I'm interested in the company.
 |
| My email to Robert Crawford |
After knowing that I have an important contact in the company, I did some research into what type of jobs are offered at DreamWorks; there's a specific section on their website which talks about how they want to hire and train recent graduates from around the world to work for them!
The list of open positions is extensive, covering a wide range of skills and points in the process, including character animation! However if certain jobs aren't currently available there is an option to leave your details on their site, so that if any positions open up they can contact you.
As exciting as all of this is, I think the best way to at least get advice about applying for a job like this is by talking to Crawford - especially since he is British as well, so he will have experience in applying for international jobs. I expect he will be a busy man, so I will give him a while to see if he replies back to me, and chase up the email if he doesn't.
Sunday 7 February 2016
Leeds International Screendance Competition
My final piece for Extended Practice is a short film, animating a dance routine. While this process has only just started, I should already consider how to advertise my film to the animation industry, and I can't think of a better way then animation festivals.
Leeds International Film Festival is a particular one to watch out for, since it's local, and displays a variety of live action and animated films. This means a wider range audience is likely to visit the festival, as opposed to just animation fans. I'd like to enter my animation into the Screendance competition, since my film will be animated dance, and it will most likely be surrounded by live action films, which will hopefully make mine stand out more in the crowd.
As well as Leeds, I will consider other short film festivals/competitions to enter my final film into, to try and get my name out there and noticed by professionals.
Leeds International Film Festival is a particular one to watch out for, since it's local, and displays a variety of live action and animated films. This means a wider range audience is likely to visit the festival, as opposed to just animation fans. I'd like to enter my animation into the Screendance competition, since my film will be animated dance, and it will most likely be surrounded by live action films, which will hopefully make mine stand out more in the crowd.
As well as Leeds, I will consider other short film festivals/competitions to enter my final film into, to try and get my name out there and noticed by professionals.
Kilogramme
Kilogramme was one of the first animation studios to catch my attention during the talks from my tutors; based in Manchester, they specialise in both 2D and 3D animation, as well as combining the two to hybridize the techniques.
Based on my classmates experience with them, I know that they are willing to arrange a tour of their facilities, as well as an explanation about how their company works; I definitely want to go and visit them, to discuss what it takes to work for them as a studio, as well as within the industry generally.
Their contact details are on their website, a phone number and email address, so there are optional ways to get in touch with them, once I figure out when is the best time to fit studio visits into my schedule.
Based on my classmates experience with them, I know that they are willing to arrange a tour of their facilities, as well as an explanation about how their company works; I definitely want to go and visit them, to discuss what it takes to work for them as a studio, as well as within the industry generally.
Their contact details are on their website, a phone number and email address, so there are optional ways to get in touch with them, once I figure out when is the best time to fit studio visits into my schedule.
Seed Animation Studio
London is, of course, one of the best places in the country to look for a job in the animation industry - what with it being the capital.
After typing 'animation internships' to Google, Seed Animation Studios' website was displayed as an option. There isn't much detail about their internship scheme on the site, but after watching their showreel it's clear to see they've mastered multiple disciplines, which allows me to admire them as a company, and definitely explore this as an option for my future.
However I have to be careful when considering working for a studio in London, due to expenses I may not be able to live or commute to London daily... For now I'll just keep researching and maybe arrange a visit to their studio, to see what being in that environment is like.
Autumn Reel from Seed Animation Studio on Vimeo.
http://www.seedanimation.com/animation
After typing 'animation internships' to Google, Seed Animation Studios' website was displayed as an option. There isn't much detail about their internship scheme on the site, but after watching their showreel it's clear to see they've mastered multiple disciplines, which allows me to admire them as a company, and definitely explore this as an option for my future.
However I have to be careful when considering working for a studio in London, due to expenses I may not be able to live or commute to London daily... For now I'll just keep researching and maybe arrange a visit to their studio, to see what being in that environment is like.
Autumn Reel from Seed Animation Studio on Vimeo.
http://www.seedanimation.com/animation
Brown Bag Studios
Since I'll be graduating soon (so scary!) I think it's time to start considering what I want to do with myself after uni. After looking back and remembering what my tutors have been saying to me for the past 3 years, I decided to search a few studios online to see what kind of work they do.
One company that stands out to me particularly is Brown Bag Films; after seeing their showreel and how friendly they all seem to be with each other, it peaked my interest. They originate from Dublin (which mainly focuses on 3D animation), however a 2D animation studio space has recently opened up in Manchester - seeing their work online makes me at least want to visit them, if not work with them!
Their website has a specific section which lists what kind of jobs are currently available in their studio - one that's advertised right now is an animation internship...
One company that stands out to me particularly is Brown Bag Films; after seeing their showreel and how friendly they all seem to be with each other, it peaked my interest. They originate from Dublin (which mainly focuses on 3D animation), however a 2D animation studio space has recently opened up in Manchester - seeing their work online makes me at least want to visit them, if not work with them!
Their website has a specific section which lists what kind of jobs are currently available in their studio - one that's advertised right now is an animation internship...
The internship will take place in Dublin, Ireland, however it will be a 12 week programme and I fit nearly all of the qualifications required for it; I think it could potentially be a great opportunity, as an internship seems to be the next appropriate step between education and work. I will keep an eye on this company, visit their studio space in Manchester, and keep it as an option for my future.
Friday 22 January 2016
Cumulus Didn't Work Out...
Due to the stress I felt from the Context of Practice 3 module, I didn't leave myself time to try and do any animation tests for Cumulo Pictures short film I was assigned to work on.
In November, Ryan emailed me asking if I had done any tests yet - I replied saying I haven't due to a large amount of stress, but I heard no response from anyone on the team since then, and recently discovered that I have been removed from the group folder shared on Google Drive, to transfer work to each other.
This leaves me to assume I've been taken off the project, however it's disappointing that nobody told me about their plans to do this, and suggests that they are unorganised. Despite this, I am fully aware that I have been unorganised and should have found time to do rough animation tests - or at least to keep emailing the team to let them know what's happening.
I'm hoping once I leave uni I will have more time on my hands and be more capable of organising my time to work on projects like this.
In November, Ryan emailed me asking if I had done any tests yet - I replied saying I haven't due to a large amount of stress, but I heard no response from anyone on the team since then, and recently discovered that I have been removed from the group folder shared on Google Drive, to transfer work to each other.
This leaves me to assume I've been taken off the project, however it's disappointing that nobody told me about their plans to do this, and suggests that they are unorganised. Despite this, I am fully aware that I have been unorganised and should have found time to do rough animation tests - or at least to keep emailing the team to let them know what's happening.
I'm hoping once I leave uni I will have more time on my hands and be more capable of organising my time to work on projects like this.
Saturday 12 December 2015
Barry Purves Part 2 - London International Animation Festival
Soon after having him visit my uni to talk to us about how to use animation to tell a story, two classmates and I travelled to London at the start of December to see Barry Purves as a guest speaker at the London International Animation Festival!
This time he spoke of his career and compared different aspects of the animation industry to each other. For example he talked about working on children's films, and how there are a lot of rules to follow and keep within the boundaries of compared to standard adult films. This is due to the health and safety precautions we have to teach children, since they are at a young age and easier influenced by what they see.
However Purves believes that children are smarter then we give them credit for, and we should give them the chance to understand rather than talking down to them (aka being patronising). He also believes it's important to introduce kids to culture.
His favourite area of the industry is working on films - he worked with Weta on King Kong for a short time and thought it was "wonderful", but unfortunately he didn't get to finish on that project. Another project he had a short time working on is 'Mars Attacks', which was originally supposed to be a stop motion film, but changed at the last minute to CG due to budget cuts.
Apart from these experiences, he hasn't had much experience in the film industry, because he has never been asked. He believes this is where he will thrive and show his true potential to the world - so I'm looking forward to that when it finally happens! One film he was sad to miss out on working on is 'Fantastic Mr Fox'.
In between these conversations were some screenings of his best films, and newest one 'Plume', including 'Screenplay', 'Achilles', and 'Tchaikovsky' - All of which demonstrate a good storytelling element, since that's Purves' main interest.
Overall the night was an enjoyable one; hearing Purves speak twice within the same week felt a little repetitive at times, but an inspirational visit that has helped me a lot with COP 3.
This time he spoke of his career and compared different aspects of the animation industry to each other. For example he talked about working on children's films, and how there are a lot of rules to follow and keep within the boundaries of compared to standard adult films. This is due to the health and safety precautions we have to teach children, since they are at a young age and easier influenced by what they see.
However Purves believes that children are smarter then we give them credit for, and we should give them the chance to understand rather than talking down to them (aka being patronising). He also believes it's important to introduce kids to culture.
His favourite area of the industry is working on films - he worked with Weta on King Kong for a short time and thought it was "wonderful", but unfortunately he didn't get to finish on that project. Another project he had a short time working on is 'Mars Attacks', which was originally supposed to be a stop motion film, but changed at the last minute to CG due to budget cuts.
Apart from these experiences, he hasn't had much experience in the film industry, because he has never been asked. He believes this is where he will thrive and show his true potential to the world - so I'm looking forward to that when it finally happens! One film he was sad to miss out on working on is 'Fantastic Mr Fox'.
In between these conversations were some screenings of his best films, and newest one 'Plume', including 'Screenplay', 'Achilles', and 'Tchaikovsky' - All of which demonstrate a good storytelling element, since that's Purves' main interest.
Overall the night was an enjoyable one; hearing Purves speak twice within the same week felt a little repetitive at times, but an inspirational visit that has helped me a lot with COP 3.
Barry Purves Part 1 - Visiting the Leeds College of Art
A couple of weeks ago, we have the privilege of meeting Barry Purves, a famous stop motion animator, as he came into our uni to give us a talk about his experiences in the industry! With 37 years under his belt I think it's safe to say he knows his stuff.
Despite this he originally wanted to be an actor; after not doing so well in this field he realised that animation has a similar effect as acting does, in the sense of giving a performance. Purves creates all of his films with the performance of the characters primarily in mind, to create life within the puppets
He opts to animate with puppets because it's a very hands-on technique, which allows him to use props and materials to build a character, and to really be able to feel the character as if it were alive for real. He also believes that stop motion is the best way to get the audience to relate to the film, since this technique uses real materials that people can actually hold, therefore making it more amazing to see it moving on screen as if it were alive.
During the presentation was a screening for two of his films, 'Plume' and 'Tchaikovsky', in which he took us through scene-by-scene to describe why he used certain camera angles or random facts about details in the films.
Overall it was a very insightful talk about various aspects of the animation industry, and he was a pleasure to listen to.
Despite this he originally wanted to be an actor; after not doing so well in this field he realised that animation has a similar effect as acting does, in the sense of giving a performance. Purves creates all of his films with the performance of the characters primarily in mind, to create life within the puppets
He opts to animate with puppets because it's a very hands-on technique, which allows him to use props and materials to build a character, and to really be able to feel the character as if it were alive for real. He also believes that stop motion is the best way to get the audience to relate to the film, since this technique uses real materials that people can actually hold, therefore making it more amazing to see it moving on screen as if it were alive.
During the presentation was a screening for two of his films, 'Plume' and 'Tchaikovsky', in which he took us through scene-by-scene to describe why he used certain camera angles or random facts about details in the films.
Overall it was a very insightful talk about various aspects of the animation industry, and he was a pleasure to listen to.
 |
| Plume |
 |
| Tchaikovsky |
Monday 16 November 2015
Thought Bubble
Over the weekend just gone, I attended the yearly ThoughtBubble event in Leeds. I had been recommended to go by some of my classmates for the past two years, so thought it was finally time to see what the fuss was about.
ThoughtBubble turned out to be a great place for networking - every artist there had business cards available for people to take, which I truly took advantage of. This has lead to giving me lots of new contacts/art blogs to look through, just incase I want to collaborate in the future.
ThoughtBubble turned out to be a great place for networking - every artist there had business cards available for people to take, which I truly took advantage of. This has lead to giving me lots of new contacts/art blogs to look through, just incase I want to collaborate in the future.
 |
| My mountain of business cards! |
Another good aspect of this convention is the panel talks; the one I went to involved each speaker illustrating onto a projection, whilst talking about their experiences in art - things that inspire them, work experience, and general chat. It was enjoyable to listen to them, though I wish some of the things they said were more useful to me as an artist trying to get into the industry.
Overall it was a very enjoyable experience; it was easy to talk to the artists at their stalls, as well as seeing the variety of artwork that's being made is really inspiring to put my work out there. If I get the chance to go again next year (or in a few years) I'd happily visit this convention again.
Tuesday 3 November 2015
Short Course at Aardman
At the start of summer, I found a short course that runs at Aardman studios between September and December of every year, which focuses on character animation in either stop motion or Maya (of your choice). The main tutor is the lead animator at Aardman, as well as guest speakers and the facilities to practice animation as a profession.
This sounds like an amazing opportunity, however only 12 students are accepted onto the course every year. The course overview states that so far about 70% of graduates from their course have gone on to animate within the industry!
NFTS/Aardman Character Animation Course class showreel 2014 from Katie Daniels on Vimeo.
http://www.aardman.com/academy/
This sounds like an amazing opportunity, however only 12 students are accepted onto the course every year. The course overview states that so far about 70% of graduates from their course have gone on to animate within the industry!
The course for 2015 is already running, however if they run the course again in 2016 it could be an option to apply for after finishing my university course...
NFTS/Aardman Character Animation Course class showreel 2014 from Katie Daniels on Vimeo.
http://www.aardman.com/academy/
MA Courses
Now is the time to start thinking about my future... One of the options I have explored a little is taking an MA course after my current course finishes.
A lot of the courses seem to be general, exploring all areas of animation, just like the study I am currently doing; Some of them sound quite interesting but I'm not sure if they will just cover what I have already been taught at Leeds College of Art.
Most of the other courses specialise in 3D animation, sound design or Games development. This suggests what universities think the future in the industry will look like.
I have found a few courses that caught my attention, two in London, one in Loughborough. Each of them has a different purpose, to re-teach me the basics of animating in each technique, to purely focus on character animation (while teaching us to advance in each technique), and the one in Loughborough will explore animation as a therapy/assistant to health.
They all sound interesting, but I will need to do more research into the universities, prices and each city before making a decision.
A lot of the courses seem to be general, exploring all areas of animation, just like the study I am currently doing; Some of them sound quite interesting but I'm not sure if they will just cover what I have already been taught at Leeds College of Art.
Most of the other courses specialise in 3D animation, sound design or Games development. This suggests what universities think the future in the industry will look like.
I have found a few courses that caught my attention, two in London, one in Loughborough. Each of them has a different purpose, to re-teach me the basics of animating in each technique, to purely focus on character animation (while teaching us to advance in each technique), and the one in Loughborough will explore animation as a therapy/assistant to health.
They all sound interesting, but I will need to do more research into the universities, prices and each city before making a decision.
 |
| The results of searching for 'animation' on ucas Post-Grad programmes |
Wednesday 28 October 2015
Nepia Tissue Animation
The use of sound effects brings the whole animation to life!
Smooth animation that looks very dainty.
Suggests that the advertising industry is open to using a wide variety of techniques to make creative outcomes - that's something I would potentially like to be a part of.
http://strictlypaper.com/blog/2013/11/tissue-paper-stop-motion-animation-for-nepia/
Smooth animation that looks very dainty.
Suggests that the advertising industry is open to using a wide variety of techniques to make creative outcomes - that's something I would potentially like to be a part of.
http://strictlypaper.com/blog/2013/11/tissue-paper-stop-motion-animation-for-nepia/
Tuesday 11 August 2015
Trying Out Adobe Flash...
So after having a webcam conversation with the creator, producer, and being introduced to their lead animator, we have established that animating in Adobe Flash would be the best option for this project, since this is Ryan Lancaster's preferred medium and he is the lead animator.
The version I have of Flash is the most recent, CC, since it came in the Adobe package I bought last year. The only Flash experience I have had previously is a brief introduction to it by my tutor, but this was an older version, so I have never used CC before. This is a different version to what Ryan has, so we will have to work around these potential issues in order to get the most out of the software and keep the work consistent.
Though I don't have much experience in this software, this is my chance to learn it and animate in it efficiently to properly compare it to Photoshop.
So far they both seem to have similar settings, despite the tool bar and other options in different places on the page, Flash still feels oddly familiar.
The paintbrush tool is very different; in Photoshop you have a variety of brushes which already have their own settings, whereas Flash allows you to customise your brush a lot more with only basic shapes (so far that I have discovered).
The version I have of Flash is the most recent, CC, since it came in the Adobe package I bought last year. The only Flash experience I have had previously is a brief introduction to it by my tutor, but this was an older version, so I have never used CC before. This is a different version to what Ryan has, so we will have to work around these potential issues in order to get the most out of the software and keep the work consistent.
Though I don't have much experience in this software, this is my chance to learn it and animate in it efficiently to properly compare it to Photoshop.
So far they both seem to have similar settings, despite the tool bar and other options in different places on the page, Flash still feels oddly familiar.
The paintbrush tool is very different; in Photoshop you have a variety of brushes which already have their own settings, whereas Flash allows you to customise your brush a lot more with only basic shapes (so far that I have discovered).
Sunday 2 August 2015
Being Introduced to a Pro Animator
So after a couple of weeks, Cumulo Pictures emailed me with the proposition to meet their newly-found animator.
It turns out that Ryan Lancaster used to be on my course (under a different name) with the same tutors I have now!
After some questions from him about my animating skills, what I prefer to animate and about the software we could use for this project, Ioan and Gloria seemed very happy about the positivity between us and have shared their folder on Google Drive with me as a way for us all to share our work.
This is turning out well, and they all seem to want me to prioritise my university work since they understand that I'm a third year student, so that is ideal working conditions for me.
Now I just have to wait for some footage and to start developing my skills on Flash, so that we can get started on this project!
It turns out that Ryan Lancaster used to be on my course (under a different name) with the same tutors I have now!
After some questions from him about my animating skills, what I prefer to animate and about the software we could use for this project, Ioan and Gloria seemed very happy about the positivity between us and have shared their folder on Google Drive with me as a way for us all to share our work.
This is turning out well, and they all seem to want me to prioritise my university work since they understand that I'm a third year student, so that is ideal working conditions for me.
Now I just have to wait for some footage and to start developing my skills on Flash, so that we can get started on this project!
Sunday 12 July 2015
Having a Webcam Conversation
After some more discussion over Vimeo, the creator of the film, Ioan, suggested we have a conversation over webcam to discuss the film further and see if there is a way that we can work together.
During this chat we established that I will need help from a more experienced animator; since this will be a 6-7 minute long film and I have never worked on a film this long before, as well as having my university work to do throughout the year.
So for now they seem friendly and happy to offer me the opportunity to work with them, I am thrilled and looking forward to having this experience of collaborating; now I just need to wait for them to get back in contact with me with more details.
During this chat we established that I will need help from a more experienced animator; since this will be a 6-7 minute long film and I have never worked on a film this long before, as well as having my university work to do throughout the year.
So for now they seem friendly and happy to offer me the opportunity to work with them, I am thrilled and looking forward to having this experience of collaborating; now I just need to wait for them to get back in contact with me with more details.
Saturday 27 June 2015
Cumulo Pictures
Recently after posting my showreel onto Vimeo, I received a message from the head of a small company called Cumulo Pictures, explaining that they loved my work and would like me to potentially animate on their short film for them!
This sounds like an amazing opportunity to collaborate with professionals and build a relationship outside of my university, as well as lead on to other networking opportunities. Before I can accept though, I need to know their schedule and conditions, since I will be back at university for my third and final year in September.
Now I just need to wait for a response to see where this conversation goes.
This sounds like an amazing opportunity to collaborate with professionals and build a relationship outside of my university, as well as lead on to other networking opportunities. Before I can accept though, I need to know their schedule and conditions, since I will be back at university for my third and final year in September.
Now I just need to wait for a response to see where this conversation goes.
Tuesday 19 May 2015
Learning Journey Evaluation
My learning journey presentation was a good opportunity to reflect on my year and determine the struggles and successes I've had; I kept the presentation positive with how the modules have gone and my showreel - I know that everybody has struggled with most of the tasks given to us this year so I decided having a more positive outtake on it and reflecting on what I can improve upon in myself and my work for next year would better for me, and a good way to end the year.
The main reason I didn't go into specifics with how each module has gone in this presentation is because I don't have too much to say about each individually. Overall they have gone well, I mentioned that COP and Responsive were my least favourites but they have proven their benefits as well, such as building up my showreel, so I can't complain a lot about them.
Most of the benefits and improvements I've made this year are visible in my work, so that's why I decided to include my showreel, as a nice way to show the highlights of my skills and best bits from my second year at uni. I also needed a way to transition between the text smoothly, so I thought using hands would be simple and look professional; it certainly wasn't as simple as I had anticipated but I've had a bit more practice with drawing hands at least.
I didn't include my plans for the summer or much of next year; it's clear enough that animating is my favourite part of the process, no matter what medium, so I would like to spend the majority of next year experimenting and building up my showreel to decide what I want to do in the future. My summer will be spent researching and developing my Context of Practice dissertation, as well as experimenting with different animating techniques and hopefully visiting a few studios in places such as Manchester. It's a shame that I didn't finish or do much for any of the practical pieces of work I wanted to do for this module, so I will try to finish at least one of them over the summer and potentially take them through into my practice next year.
The main reason I didn't go into specifics with how each module has gone in this presentation is because I don't have too much to say about each individually. Overall they have gone well, I mentioned that COP and Responsive were my least favourites but they have proven their benefits as well, such as building up my showreel, so I can't complain a lot about them.
Most of the benefits and improvements I've made this year are visible in my work, so that's why I decided to include my showreel, as a nice way to show the highlights of my skills and best bits from my second year at uni. I also needed a way to transition between the text smoothly, so I thought using hands would be simple and look professional; it certainly wasn't as simple as I had anticipated but I've had a bit more practice with drawing hands at least.
I didn't include my plans for the summer or much of next year; it's clear enough that animating is my favourite part of the process, no matter what medium, so I would like to spend the majority of next year experimenting and building up my showreel to decide what I want to do in the future. My summer will be spent researching and developing my Context of Practice dissertation, as well as experimenting with different animating techniques and hopefully visiting a few studios in places such as Manchester. It's a shame that I didn't finish or do much for any of the practical pieces of work I wanted to do for this module, so I will try to finish at least one of them over the summer and potentially take them through into my practice next year.
My Showreel: Spring 2015!
Since I have produced so much animated work over the past two years, it was difficult to narrow down my best pieces to compile into a showreel. Some pieces stood out to me straight away, such as my work towards the 11 Second Club competition and parts of the final piece Cara Lambert and I collaborated on for Propercorn. For a few animations I've done this year I feel that I haven't had enough time on them, so sourced my best work from my first year, which includes a walk cycle and a dog running, so I feel that I have a good variety of pieces to show off my skills.
Originally when I started this course I thought that stop motion would become my specialist area of interest for my third year, but recently I have enjoyed 3D and 2D animating a lot more; despite this I am still open to all techniques, but this is why there is a lack of stop motion in my showreel for now.
After putting my videos and audio (sourced online for free) together on Premiere and applying the titles (with my contact details on and labelling that I only worked on the stop motion for the last piece) I am happy with the showreel I have made for this year!
Originally when I started this course I thought that stop motion would become my specialist area of interest for my third year, but recently I have enjoyed 3D and 2D animating a lot more; despite this I am still open to all techniques, but this is why there is a lack of stop motion in my showreel for now.
After putting my videos and audio (sourced online for free) together on Premiere and applying the titles (with my contact details on and labelling that I only worked on the stop motion for the last piece) I am happy with the showreel I have made for this year!
Monday 18 May 2015
Business Cards
After my previous experience with designing business cards in the 'Responsive' module, I wasn't sure if I would enjoy this or not. After creating my portfolio, I decided that the best way to represent myself would be to use the same style consistently throughout my work. That is why I ultimately decided on my final pieces, compared to my other trials the final card closely represents what I used for my portfolio.
Despite this, all of these are only mock up designs - due to bad time management I don't have enough time to develop my own patterns, but I still feel this pattern represents me well (at least for now) and I can create better designs over the summer, since I intend to visit animation studios in the 4 months we have away from uni and it would be beneficial to exchange contact details to start networking as I start my final year of university.
Despite this, all of these are only mock up designs - due to bad time management I don't have enough time to develop my own patterns, but I still feel this pattern represents me well (at least for now) and I can create better designs over the summer, since I intend to visit animation studios in the 4 months we have away from uni and it would be beneficial to exchange contact details to start networking as I start my final year of university.
 |
| Trial - Front |
 |
| Trial - Back |
 |
| Trial - Back |
 |
| Final Card - Front |
 |
| Final Card - Back |
Sunday 17 May 2015
Portfolio
Since my specialist area is animating, I found it hard to decide what to include in my portfolio. In the end I mostly included screenshots from my animations since this is the most relevant imagery I've created for my future.
I wanted to create a booklet, similar to my project report for Responsive, except considering the cover page more. I want it to reflect my style and suit the rest of my work, so I thought using the same layout as my blog would make sense. Here's a few mock ups I made of potential layouts on Photoshop, I prefer my final choice because the start boarder doesn't sit too far into the page so it looks more like a boarder rather than an unfinished pattern:
I used Photoshop to put together the pages and saved them as one PDF file because I'm familiar with the software and could focus on creating the layout in reasonable time. Overall I am happy with the choices I made; In order to show off my rendered pictures from Character and Narrative and my qwertee designs, I put them first and last. I've learnt from experience with applying to college and university that putting your best pieces of work first and last will give off the best impression. I haven't done many character designs or storyboards, none of which are of good quality, so using some coloured screenshots from a couple of my best animations made the most sense.
I wanted to create a booklet, similar to my project report for Responsive, except considering the cover page more. I want it to reflect my style and suit the rest of my work, so I thought using the same layout as my blog would make sense. Here's a few mock ups I made of potential layouts on Photoshop, I prefer my final choice because the start boarder doesn't sit too far into the page so it looks more like a boarder rather than an unfinished pattern:
 |
| Final Cover |
I used Photoshop to put together the pages and saved them as one PDF file because I'm familiar with the software and could focus on creating the layout in reasonable time. Overall I am happy with the choices I made; In order to show off my rendered pictures from Character and Narrative and my qwertee designs, I put them first and last. I've learnt from experience with applying to college and university that putting your best pieces of work first and last will give off the best impression. I haven't done many character designs or storyboards, none of which are of good quality, so using some coloured screenshots from a couple of my best animations made the most sense.
Subscribe to:
Posts (Atom)