This is Our Final Goodbyes

1. Why did you take the class?

Back in 2013, I was more interested in the animation portion of the Digital Media class. I wanted to draw and make things move and that was really it. Some time during the middle of the 2013-2014 school year, I came to realize that there was much more to animating than simply drawing and making things move. There had to be a cinematic element to my visual performances, an element that I could learn in Video Production. I learned about lighting elements, video techniques, and in a lot of ways, teamwork. I learned that I could ask for help making films. I learned that it's okay to work with friends. Even after the year is over, I can take this lesson with me wherever I go.

2. In general, what did you like most about the class?

I liked the community element that came with the class in addition to the deadline driven curriculum. Everything and everyone feels like they matter. I credit that to the small class size though. The deadlines really helped me stay on task and even though it was stressful sometimes, it prepared me for the future of my desired field.

3. In general, what did you like least about the class?

If anything, I disliked the stress of the course, but that couldn't be helped. In this field, deadlines are the be all end all (in my opinion).

4. What was your most favorite project and why?

My favorite project was probably the final project. Not only was it fun to shoot, it also lead to a gold mine of jokes and puns that I will likely remember for a long time i.e. Count Swagula, "he pooped himself" (when Brian exploded in my film), the skeleton hand sticking out from under the sheet, accidental/purposeful butt touches (Derek, I'm looking at you. What did Brian do to deserve that?), and the infamous swag walk.

5. What was your least favorite project and way?

Without a doubt, it was the documentary project. In my opinion, I didn't really feel prepared for that large of a project. I think I would have done so much better if it was saved for later in the year. To date, I think it was my worst project of the year.

6. Discuss the overall effectiveness of the instructor (for example: preparation, availability, interest, content, knowledge, expectations, ect.).

Just like last year, I thought that the instructor did a fine job of teaching us what we needed to know. Whenever I had a question, I was able to contact them and work out my issue. In addition to a teacher, they were also a mentor, defined by Dictionary.com as "an influential senior sponsor or supporter" and "a wise and trusted teacher."

7. What are the most valuable things you learned in this class?

The most valuable things I learned this year were probably teamwork, lighting elements, and the importance of audio (even if I'm not the best with audio work yet).

8. Do you feel that this class will help you achieve your future academic or career goals? How or why (or why not)?

This class will definitely help me achieve my academic goals and likely my future career goals as well. In college I will have a head start because I already have experience animating and that will probably help me into the workforce as well.

9. How could this class be improved?

As stated below question number five, I think that the documentary project was too big of a project too soon. I think that something of shorter length would be a better fit for that spot instead.

10: Additional comments:

I'm truly going to miss this class when I have to leave. I've made a lot of positive memories here and I'm proud to have represented the Digital Media class both years at New York State competition. I hope that some day I will get to return as a guest speaker or something just to share my knowledge and experiences with the "next generation" of this class. I wish only the best for everyone's futures and I want to thank each one of you for making this experience so worthwhile. I'll never forget you guys.

One Week at BOCES

• Learned

Since I had an unexpected senior class field trip on Friday, I really saw how devastating it can be to have to ride a short deadline and rely on classmates for help. Sometimes it's worth the risk, sometimes it isn't. When it doesn't work, you have to make last minute improvises and hope they work.

• Want to learn

I want to learn the best way to manage your human resources. I can imagine that it will be easier once we are all able to drive, but for now, getting from one person's house to the next is a hassle.

• Frustrated you

The surprise field trip on Friday was unexpected and unnecessary. I was told that because I had BOCES, I would be allowed to not go (that and the fact that I'm not going to prom). That turned out to be a big lie. There were no buses sent to my school that were going to NCTEC. When I talked to my homeroom teacher about it, she scolded me for "not valuing the lesson they were going to give me." In the end, I learned nothing new, spend hours of time doing little to nothing, and heard countless depressing stories from people who have suffered a loss or suffered from an injury. They have my sympathy, but I don't think their stories sunk in as well as they were intended to (sorry).

• Made you happy

I don't know, summer is closing in and I look forward to my trip to Maryland and my graduation party.

• https://www.youtube.com/watch?v=tCt_kq0gFw0

 Remember when Avatar: The Last Airbender was popular? Remember the angry owl spirit that tried to sink his secret library in the middle of the desert? Remember when he broke out into some sick beats? No? Well check out the video! It's a neat animatic about the owl spirit doing just that, putting on some headphones and doing some DJing.

Film makers on Film making

There is no doubt that film has expanded far beyond basic storytelling. Now, film making is like "a glance into what it really means to be human."

In a brief interview with a group of esteemed filmmakers, they each share a bit of wisdom from their years of directing and shooting films. A recurring theme between each of the directors was about the stress of the process. Budgeting, actors, and how well the film is received in theaters were only a few of their worries. Not only that, but there was also the doubts about where to begin. There's the thought that only natural born Californians can ever be successful filmmakers. In addition, some people worry about the equipment that they started out with. While having Hollywood connections and the latest and greatest equipment is certainly nice, it is not the be all end all in the business. Make the most out of what you have.

At the end of the day, it comes down to a certain degree of luck. There is no magic formula that will make a film a box office success. The filmmaker can make a movie that they personally would watch and hope that others will agree to pay for a ticket to see it too.

• The video felt very redundant, even when it wasn't. The video was long and not engaging at all. I feel like I would have learned more if I could focus better on what the directors were all saying.
• Is film making really as much of a gamble as it looks? You go in with a large sum of money that you will ultimately have to pay back, not knowing if you will be able to or not.
• This field is without a doubt a stressful field, not for the faint of heart. To do well in this field, you have to have a certain level of ambition, be able to take risks, and you have to be lucky.

Good luck.

Demo Reel Do's and Don'ts

The end of the school year is coming faster than we can all keep track of and many of us are on our way to college. Anyone going for animation is going to have to learn how to assemble an effective demo reels to present to future employers. Far too often, students make the mistake of adding some of their mediocre work, making it too long, and ruin the experience with far too many titles and transitions. These can make the reviewer loose interest very fast and will definitely hurt your chances of landing a job or whatever else you're trying to do. Don Kim, a director and animation supervisor, offers some helpful tips to all the up and coming animators of today and tomorrow.

First, always include only your best work in a demo reel. Just because a particular clip has sentimental value doesn't necessarily mean that it is your best work. Don suggests having a peer review your work so they can give you an objective point of view on the work.

Next, keep it short, 1-2 minutes tops. Start strong, keep interest, end strong. Reviewer time is limited, so if you can get them hooked within that brief time frame, then you're golden. It's also important to maintain a sense of rhythm with the highs and lows. Overall, keep it engaging and interesting.

Lastly, a lot of studios will also want to see a portfolio which should include some of your other creative work. Perhaps an animatic, some life drawings, a short film, etc. Only present what you're most proud of and be sure to make a good impression.

• I think this article is very useful for someone who wants to join the animation field in the future. Not only does it provide a list, it also provides visual examples of effective reels.
• I feel like I knew most of the information already, but a refresher is never a bad thing, especially when it's about a demo reel.
• Is there ever too much to put in a portfolio? As long as it's all relevant, does it matter how much work is fitted into a portfolio?
• Demo reels and portfolios are super important in the animation field or any other digital visual arts field. These tips should always be kept in the back of your mind wherever you go.

Happy Mother's Day

Happy Mother's day everybody. I hope you all had a wonderful (or at least tolerable) day with your mothers. The weather was pretty good, the sun was shining, and the temperature remained pretty cool, at least where I am.

•  Learned

I suppose while this isn't so much an academic thing,  I did learn just how difficult it is to pick between candidates for the 2016 animation seats. With just 14 seats, you really have to make sure you're picking the best and most capable students you can. Kinda reminds me of way back when I was in the hot seat. Fond memories.

• Want to learn

 Nothing I'm too curious about this week. I'm not getting into too many new things with my final project. A few special effects, but that's really it. Nothing I don't already know.

• Frustrated you

Deadlines are approaching fast. It really puts you on edge. I hope I can make it on time.

Also I tried wearing one of my new skirts yesterday and I broke the (already broken) zipper. It's a really cute skirt, but I will have to replace the zipper if I ever want to wear it again (which I do).

• Made you happy

 Summer is just around the corner and while I'm a little upset that I will have to say goodbye to some very close people, I'm also one step closer to going to my college of choice. I still have some time, but I must say that it's been a pleasure working with all of you.

Warning: Innuendo made at 1:21

https://youtu.be/v2IqiOWbDsE

Have a rather humorous Five Nights at Freddy's animation. I've grown quite fond of them recently and this one is pretty entertaining. It's by Piemations on YouTube. The video is pretty much about how Foxy is the only animatronic in FNAF2 that can see through your disguise.

Raising Dragons with Florian Friedmann

Friedmann is an animator on the television show "Game of Thrones." He's been put in charge of animating the ferocious dragons we see running across the screen. Florian Friedmann has gotten to see the progression of the mythical beasts since they were "little." Now that they're all grown up, Friedmann goes into some of the processes of growing dragons.

With each new season, the rigs for the dragons get heavier. The little babies are growing up and not only getting bigger, but also bulkier. The little reptiles are developing thicker muscles, specifically on their chests. New pivot points need to be added around their chests for flying to help accommodate their newly increased sizes. Accompanying their increased sizes, their level of detail and amount of controllers increase as well. Each scale on the dragon's back has its own controller and even the faces have controllers to give off the appearance of having emotions.

Since the dragon rigs have to be redone with each season, the animators have to be constantly looking for references. Videos of bats are used to help nail down the motion of the dragons' wings while walking gorillas are referenced for the motions of the legs, though they still give the animators problems. To deal with the issue of the dragons walking, the team behind them chooses to cover them up with the dragons' large leathery wings. They're hardly seen anyway, so if it works then it works.

Animators aren't the only ones that get the responsibility honor to work on the dragons. Animators and the simulation crew split up different sections of the work. For example, the animation crew might build the rig and get all the basic motions down, but the simulation crew might refine it and add subtle folding in the skin of the wings. The work is broken up to create the most realistic product they can.

Lastly, Friedmann comments on his emotional attachment to the creatures he's been tasked to animate. He has seen the dragons "grow up" and says that he would be devastated if he didn't get to work on the dragons next season.

I think it's neat to get a bit of a peek on the inside of Game of Thrones, especially in the dragon/animating department. I love seeing examples of how animation can be integrated into live action filming

Do the animators also work with the textures? If so, then how are all the different textures mapped to the dragons' bodies and how are they given the appearance of realism despite being CG?

Animation is becoming much more realistic and considerably more relevant. In the past we saw comedy bits like "Who Framed Rodger Rabbit" that had both live action and animation, but now we have serious shows and films like "Game of Thrones" to really show how great animation has become.

The Science of Science Fiction (In Marvel)

There's no doubt that when we look at the Avengers on the big screen, we see a group of people who are larger than life with extraordinary abilities. Tony Stark with his intellect and iron suit, Thor and his magical lightning hammer, Captain America with his shield and heightened physical capabilities, Black Widow and her stamina and healing, etc. They all sound unreal, right? Surprisingly, there's more science to them than you may think.

Starting with Tony Stark, a.k.a Iron Man, we can figure out that his suit isn't actually made of iron. Since iron is dense and heavy, that metal would make flying quite difficult. In the movies, he says his suit is made from a gold titanium alloy, but even that would be too heavy. If his suit isn't made of iron or a gold titanium alloy, then what could it possibly be made of? Nitinol. Nitinol is a nickle titanium alloy that's durable and light weight, perfect for flying around and taking a few hits. There could also be some carbon fiber and graphite in his suit for the extra hot areas like his rocket boots and his laser gloves. Speaking of different elements, Stark's power source comes to mind. Originally it relied on palladium to function, but since that was slowly poisoning him, he decided to create a whole new element. Sounds like a work of fiction, but actually this has been done before. Humankind has already created 20 synthetic elements and more could be in the making even now.

Next, we can take a look at the hyper-regenerative abilities of Black Widow and Captain America. The two super humans could possibly have super macrophages, special white blood cells tasked with fighting infection and healing wounds. Their macrophages could be hard at work, rapidly producing growth factors to rapidly heal wounds.

While it isn't a super power, Captain America's shield is definitely a work of fiction, right? Well we can assume the shield contains steel, a light weight and sturdy metal that would be able to take quite a bit of roughing up. But steel alone probably wouldn't make the perfect shield. Steel is a poor shock absorber, so picking up the slack is the imaginary mineral called "vibranium." Vibranium can absorb any amount of shock dealt to it without any problem. It gets the job done, but all that energy has to go somewhere. In a fight with Thor, we see something interesting going on when the hammer hits the steel and vibranium shield, it gives off sparks of light! This implies that vibranium turns shock into light energy. Now that's some science!
 

I always think it's interesting when people are able to back science fiction with actual facts. It adds a feeling of realism to the larger than life films we see on the big screen.

I feel like I got a bit of a chemistry lesson when the video was talking about Iron Man (or rather "Nitinol Man")

What science could back up the Hulk or Thor, the two most unreal characters in the Avengers (in my personal opinion)

Backing up your sci-fi with facts gives your film a sense of possibility. It takes a larger than life and brings it down to Earth, making it more relatable (and in my opinion, more enjoyable).

Weekly thoughts

• Learned

 This week was mostly a work week, so I don't think we learned too much in class. Outside of class however, I am finally organizing a film shoot with some classmates for my final project. With any luck, I'll make a good film with an adequate amount of time to edit and such.

• Want to learn

I want to learn all the different reasons why one might want to shoot handheld. Handheld shots feel like they're a bit more high action and personal, making it great for something like a fight scene, but I want to know all the other ways handheld could be used.

• Frustrated you

I'm not so much frustrated, so much as I am anxious. I'm worried that one or more of my actors won't be able to show up at the time and place that I will need them. I'm also worried that I won't have some of the props I'll need in time for the filming.

• Made you happy

I've been getting progressively happier with each of my films that I make. I'm a little late, but I think I'm starting to get a hang of the whole filmmaking process and such. 

• https://youtu.be/xfTxkg-wB9Y

Here's a little animation test from Wreck-it-Ralph. Supposedly it was supposed to be a 2D animated film in the beginning, but somewhere along the lines it was made into a 3D movie instead. Definitely an interesting watch if you're into that kind of thing!

3D Printing Dolls

In the old days of stop motion puppetry, you used to have to hand-sculpt each individual puppet and all of its duplicates and each expression, etc. LAIKA, the studio behind films like "The Nightmare Before Christmas," "Coraline," and "ParaNorman," has started using 3D printing technology to print their own dolls with a wider range of hues and expressions. In addition to this, the characters even have their own wardrobes! This new innovation in stop-motion animation could lead to a future with greater detailed stop-motion puppets.

I feel like I've read this before. It didn't really come as a surprise to me, but I suppose I'm glad that this new and improved puppet making process is being utilized.

How are the puppets molded around the wire frame skeleton (that I assume they have to help hold them steady)? I really don't understand much about 3D printing or stop motion.

This could be a very positive thing for stop motion companies that have the cash to spend on a 3D printer. More and more audiences can now be spoiled with gorgeous looking puppets.

The Decreasing Quality of New Animations (?)

In an article titled, "Disposable Animation: More Prevalent Than Ever?" by Charles Kenny, Charles expresses his concern for the future of animation. He describes new animations as, "people trying to make a quick buck," and doesn't express much positivism for the modern media form. He compares the modern films that appeal to the population to the classical films created by Disney himself and how Disney paid considerably more attention to the detail and quality of his films and how the cartoonists of today just couldn't give a hoot so long as they're making money.

I could not disagree with this article more. I think that Charles Kenny is letting his personal views on "true animation" get in the way of what's really going on. He claims that animation isn't changing and people aren't innovating, but I think he's sore because it isn't changing in the way that he wants it to. Art is always changing and innovating to appeal to the modern consumer. If the modern consumer is a child of the 2000's rather than a kid from the 1980's, then why does it matter that our cartoons now don't match the cartoons he enjoyed as a kid?

And another thing, while yes, the internet is full of a lot of poor quality animations, but those "poor quality animations" were made by people who are probably learning or just picking up the craft. Their work can't be deemed worthless just because they lack the countless years of training and experience that the great Walt Disney had. Places like YouTube could be compared to a metaphorical refrigerator, the work put on there may not be the best, but the person who made it is probably really proud of that and it serves as an inspiration to further better themselves. We can't discourage the next generation of animators and animations just because they're not so great now. That would create an actual shortage of good animations, because there wouldn't be any to begin with.

"...The woods would be a quiet place if only the best birds sang."

I did not like the article. I thought it was very one sided and needlessly subjective.

I strongly disagree with what the article has to say. Just because it's old or "classical" doesn't mean that it's better.

I feel like a lot of people share this likeminded opinion on animations and animation as an art form. While we may never get another Walt Disney, we don't necessarily need one. He was a unique individual with his own style. Rather than trying to replace him, we should try to be encouraging a new generation to learn how to tell an effective visual story. If a visual story has rudimentary designs, yet conveys masterful writing, why does it matter what the drawing style looks like?

[Insert Creative Title Here]

• Learned

Still didn't learn too much this week, since it was mostly a work week, though I suppose that I found a good enough balance between work and breaks.

• Want to learn

 How to balance tight deadlines with quality filming.

• Frustrated you

 I've been very detached lately. I want to talk to people, yet talking to some people can be more straining than it's worth sometimes.

• Made you happy

State competition is coming up! I'm super excited!

• How to create a cartoon in After Effects 

 Exactly as the link says, it's a video about how to create a cartoon in Adobe After Effects. It works pretty much the exact same as Adobe Flash and Toon Boom, but it is also different. It's worth checking out!

Directing: What's Up With That?

Directing can mean everything and yet it can also be nothing. It doesn't always have one clear definition and it certainly doesn't have a single job, but the people at Corridror Digital filmed a brief list of all the do's and don'ts that go along with being a director.

Clear direction:
Clear direction is a part of the communication aspect of directing. You have to know what you want and how you're going to get there. After all, if you don't, then how will your actors know?

Don't always follow the script:
Sometimes, some of the best shots can be improved. Don't feel bound and chained to the script. Take some creative liberties and have fun without getting too off track.

Study other directors' styles:
Learn from the people that already know what they're doing. Learn what makes their movies so great and keep that in mind when you're filming your own stuff.

Take your time and be efficient:
Do. Not. Rush. When you rush, you make mistakes. When everyone is bombarding you with questions, take a moment and make a clear decision.

Find a clear way to communicate your goal:
Communication can not be stressed enough. Find out what helps to communicate your vision, be it animation, a storyboard, etc. Either way, a clear direction has to be given.

Call a friend:
Sometimes, being the cameraman and the director isn't a good idea if you're going to get caught up in the shot rather than the goal. Friends can be there to lend a hand when you need it.

Viewfinders are helpful:
Viewfinders are great for helping you set up a shot. You can also use your fingers.

Spend your time wisely:
Find out what works the best and the quickest for you. Time is not on your side, so use that to get the best work done in the shortest amount of time.

 No fighting on the set:
Fighting is unprofessional and there are many better ways of handling the situation. If you have a beef with someone, ask them to step aside and settle it like the mature adults you're expected to be.

Stay hydrated:
Drink lots of fluids because you're going to be busy busy busy on set.

Use what gear you have to its fullest potential:
You don't need any fancy-pants camera equipment to tell a good story. As long as you get your message across without any distractions or disruptions in the shot, why should it matter how amazingly spectacular your gear is or is not?

Take care of your crew and they will take care of you:
Work with your team and help anyone that needs you. Nurture your group and make sure they have everything they need to give you the best quality footage you can get.

Help your actors find their motivation:
Don't tell the actor how to do their job, tell them why they're doing their job, playing that role.

 Respect your actors' processes:
Respect that your actor may need to get into their character's shoes and find their motivation. Let them do whatever they have to do to give you the best performance they can give.

Set a deadline and stick to it:
 Don't goof around. Get your task done and move on to the next task. Be efficient and don't be lazy.

I thought that the article was rather useful. It gave me some advise to be a better director and helped me correct some of the mistakes that I regularly make.

I learned that being a director is a crazy business, not for the faint of heart.

These tips should always be kept in mind, newbie director or not. Communication is key and time is golden.

Camera Controlled Creative Cloud Character Animator

So, Adobe is developing a new way to animate characters with their new Character Animator program. Rather than the traditional pencil animation or animating with keyframes, this program utilizes your computer's camera and microphone to analyze your motion and speech. In theory, this program will save you extensive amounts of time because it automatically tracks the characters to your body and syncs the characters lips. Character Animator will be included in the next Creative Cloud update and Adobe is still looking for feedback to make it even better.

Perhaps I am biased to the animation techniques I've learned, but I don't think this program does a very good job at what it's supposed to do. I watched the provided video and I wasn't all that impressed. Character Animator boasts that it can do all these helpful, time saving things, and in a lot of ways, it can, but not very effectively. From what I could see, the lip sync was everywhere and didn't seem to line up with the speech at all. Another thing, I thought that some of the features like the wiggling and stretching was just too much. It seemed unrealistic and unnecessary. But hey, if anyone can get that to work just right, then cudos to them. It's probably not something that I'd be able to do. They would have my respect.

Apparently Adobe is trying to one-up themselves by creating an animation program that makes their two other animation programs obsolete. In theory, this would be a really helpful program for some animators, but I don't think I see myself using it any time soon.

How does Java Script effect the program? Does it change the way that some features work?

If this works like it says it does, this could revolutionize character animation. Characters could look and act more lifelike than ever before and it could really sell animation as a serious medium for film making.

SMASH

• Learned

I don't really think I learned that much this week. It was mostly a work week where I applied more knowledge than I absorbed. I got everything done on time and now I just need to figure out how to better use my spare time.

• Want to learn

Like I said above, I suppose I wouldn't mind finding some creative ways to use my spare time. I know that I could do blogs during class, but there has to be something else.

• Frustrated you

 Fight scenes are really difficult to film...

• Made you happy

I've been playing so much Super Smash Brothers for the 3DS. I unlocked all of the characters, all of the stages, and I've made a buttload of of custom Mii characters based on fictional animated characters.

• https://youtu.be/KRVhtMxQWRs

Here we have some basics of animation, timing and spacing.  This video takes some of the basic things we learn(ed) in animation class and condensed it into a relatively short (and entertaining) video. This would be a good resource to use for animators, new and experienced, because it's never to late to relearn the basics.

Neurocinematography

Big shock, movies are designed to control our reactions and responses. By using certain techniques and tactics, movie makers can elicit specific reactions from audiences at desired scenes. It's like they're controlling our brains in a way. While neurocinematography can't measure how good a creative or aesthetically pleasing a film is, it can measure how engaging it is. This could be a gateway to a future in movie making. Some day, we could use this science to create the ultimate movie, appealing to everyone in their own unique ways for maximum engaging capabilities.

I don't like the way that the information was presented, but the facts seem sound.
I learned that how engaged a viewer is in a movie can actually be measured.
What might "the most engaging as possible" film look like and what would change from person to person?
Keeping the audience engaged is one of the most important parts about having a successful movie. If there was some way to ensure that the viewer would be engaged no matte what, then that would likely enhance the viewing experience and open the way to bigger and better movies.

Career Goals in the Animation Field

In a recent blog post by Will Finn, he gives a little insight on his personal animation career. Will shares his story of hopping from job to job and doing some freelance work on the side. What's interesting is that he doesn't put this in a bad light. The way he words it gives the reader the idea that this is okay, that it's okay not to take root in one singular job for too long. His story details his unique and under-told experiences in the world of a real animation career market. Not everyone will get a permanent spot on the Disney or Pixar animation team, and that's fine. Will was fine with the career that he set out for himself, a career that he says he has to be solely responsible for based on his reputation, ability, and preferences. If he fails, it is nobody's fault but his own. If he succeeds, it's because he worked for it. This is the way he is happy. This is his personal experience (which may not be right for everybody).

Even now, he still remembers the very important lessons that he learned in year one, "...I will never forget the things I learned in that fateful Year One, including this: 1. Never take a gig for granted. 2. Each job is not an end in and of itself: it’s a piece of something bigger: something called a career."

When I read the article title, I was concerned and confused. After reading it, I realize that the post wasn't to discourage the pursuit of an animation job, but an encouragement to make a career out of it and to have your own unique experience.

I learned that there are more ways to have a profession in animation than just a sit down, plant your roots kind of job. Some people are nomadic (in a way) and there is nothing wrong with that.

In many ways, I agree with what the article is saying, yet there are still parts with which I disagree. There is nothing wrong with having a job in animation if that is where you feel most comfortable/fit in best, but that is not the only possibility and an animator shouldn't be limited to any one choice.

Where are the best places to begin for either a job or a career?

Nobody should be limited to one option in the professional world. If you want a sit down job with one singular studio, that's fine, but you should also be given the opportunity to have a career with a bunch of different studios and do some freelance work if you feel up to it/are capable of doing so.

Reboots and Crashes

• Learned

 I guess I learned a little bit from the tutorial packets that we got on Friday. I really don't like the Kolshov effect and I don't really see what it's supposed to do, but heck, it's a learning experience all the same.

• Want to learn

 I want to learn the different camera angles involved in a fight scene. That's the editing tutorial I'm most looking forward to and I'm a little worried that I'll mess it up somehow.

• Frustrated you

 General directionless angst. Nothing I can't manage in my own time.

• Made you happy

 I'm finally gathering some cosplay materials for my upcoming costume in July. My leggings and gloves came in the mail and I got a cute skirt and some shirts. It's really coming along and I couldn't be happier.

Also, I got to see Emily's musical with my mother. We both enjoyed the hell out of it and I'm really glad I got the chance to go! I kept the program too.

https://youtu.be/v_2aDok_CcQ

• Kids Next Door reboot!! An animatic was released in addition to a bunch of other content on the subject. I was really interested when I saw the animatic and I'm super excited to see this become an actual thing. Kids Next Door was a piece of my childhood and I can't wait to see how it's going to be handled now. Hopefully it will be handled with more care than Teen Titans: GO (which I absolutely despise)

Strength to Adapt

In an article by Janet Blatter, she made some observations about the phrase, "Play to your strengths." First, she asks a series of rhetorical questions about just where/what "strength" might be. Next, she wonders rather animators can really afford to make decisions based on their egos. No matter what, an animator is going to have to face change and make improvise and learn new techniques. Animation is not a static job. Everything will change and new skills will have to be learned. If anything, an animator's strong point should lie in self-efficiency.

The article made a lot of sense and provides something to really think about.
I learned the true extent of how dynamic the animation field is.
I agree that the phrase "play to your strengths" is a bad term because of how ambiguous and destructive the phrase can be.
It's important for us all to understand that we can't rely on one singular, unchanging method of doing things. In the animation field, if you can't adapt, you're not going to go too far.

Filming with Drones

Drones are one of the newest filmmaking innovations that has yet to be fully discovered by directors. They provide great varied arial shots that were previously either expensive or impossible. In addition, they are not difficult to control (after a bit of practice of course) and are considerably less expensive than the alternatives (helicopter rides and cranes). And now that the FAA is creating some exemptions for cinema drones, this sounds like a pretty sweet opportunity. Unfortunately, no new technique is perfect. In addition to learning to fly the drone, image quality and stabilization are also a challenge. Also, the battery life of these drones are often very short and doesn't allow for long shoots. Still, if a filmmaker is willing to face these hurdles and learn, "the future of 'drone shots' is wide open."

I think that this was an interesting article. I had never thought about drones being used for this kind of work and it really is a good idea that more filmmakers should be looking into.
I learned that the drones could possibly be used in the future of cinematography.
How can a drone lift quality camera equipment? It seems like smaller, more light weight cameras are of poorer quality than the big bulky cameras.
This could be the future of aerial cinematography. It is something that filmmakers should definitely take into consideration.

Daily Doldrums

• Learned

Another week that wasn't too knowledge-filled. I pretty much applied my knowledge rather than gained new knowledge.

Though perhaps practicing audio syncing with video could count as 'learning.'

• Want to learn

How to perfectly sync up audio to video (assuming they were captured using different methods like I did with the sound recorder).

• Frustrated you

 Getting interviews is tough and I felt a bit like a bother to all the people that I asked. Even though my interviews took less than 5 minutes each, I couldn't help but feel like an inconvenience.

Also, while I'm getting my work done at a reasonable time, I also find that the work isn't as fun because I didn't get to try anything new. For example, getting my green screen work done was a b*tch, but I had fun doing it because it was something I never got to do before and when it did work, it looked hella cool.

• Made you happy

I'm getting something done on time and with little stress. I'm unused to this feeling. I swear, my life runs on approaching deadlines and stress.

https://youtu.be/Mptpw8fQ-lw

The animation is about a group of mythological 'beings of death' bringing their successors (or whatever they might be called) to Death School to learn how to kill/capture spirits. The first two(three) successors look promising, but then the last one is revealed and even the predecessor is embarrassed/disappointed. The being does not want to kill or collect souls, but rather it wants to create clothing and accessories. In the end, that is what sets him above the rest.

It's a creative take on what we consider 'death' to be. Rather than forcibly taking souls, the misfit being convinces the souls to come along willingly so that they may cross over willingly. I definitely recommend!

Film on a Regular Basis

Filming every single day has some useful benefits that come along with it. Firstly, you get the chance to become familiar with your equipment. You avoid having to relearn what you already know because you exercise that knowledge every single day. It just becomes second nature. Second, we improve upon our skills again, because you're always practicing and learning and honing your talent. Next, you learn to try new things. Let's be honest, when you do the same thing over and over, it gets dull. Practicing every single day encourages you to try new and exciting things. Next, you learn what you're good at and what you need to improve the most. If one technique routinely turns out poorly, you learn that 'Hey, I'm not the greatest at this' and find other ways to do the same thing, only better. Next, filming becomes a second-nature habit. It's a task that you can learn to do without thinking, and you can capture moments and tell stories with video. Lastly, you seek out new and exciting things to film for the same reason you learn and try new techniques. Because shooting the same thing over and over gets dull.

Now, that's not to say that each and every film has to be a full-scale production or a formal shoot. A small hand-held video camera should do nicely.

I thought that, while the article had some good advise, the suggestions were often easier said than done. Sometimes people are busy and can't always film on a daily basis and sometimes there is simply nothing interesting to film.
If the person is willing/able to film on a regular basis, then they definitely should.
Practice makes perfect and if you're able to do this, then all the more power to you.

Animated Music Videos?

In an article with Animation Mentor, Carlos Baena gives us all a lesson on music and animation and how they're related in many ways. Firstly, many terms from one also correspond to the other. Words like tempo, beat, rhythm, etc could be applied to music and animation and have similar meanings. Also, animation and music are meant to keep the audience entertained and make them react.

Timing is essential when using music in a film or an animation. Music can lay out a pattern for repetition, which not only gives the animator/filmmaker to utilize this pattern, but also break it. Breaking the pattern surprises the audience, which can be a useful tool.

The "tempo" of an animation refers to the speed and the pacing. The pacing can be driven by the music to create some cool effects, but even without the music, the pacing can have a huge impact.

 Lastly, Carlos Baena shared his inspiration for the Ratatouille characters, which came from Peter Seller's Inspector Jacques Clouseau from the Pink Panther and Henry Mancini's music.

I thought the article was interesting to read and it brought up some interesting points.
I learned that there are a lot of places (and terms) where animation and music overlap
Music can greatly enhance a film or animation and can provide quite a bit of inspiration for character actions. Oppositely, character body parts can act as "instruments" that "drive the music" even though we know that is not the case.

I found their equivalent in animation terms. Things like tempo, beats, accents, phrase, rhythm, legato, staccato, adagio, presto, finale, monotone to name a few all have things that you can apply to animation in some way or another. - See more at: http://blog.animationmentor.com/animation-as-visual-music/#sthash.STHwTWPz.dpuf

I found their equivalent in animation terms. Things like tempo, beats, accents, phrase, rhythm, legato, staccato, adagio, presto, finale, monotone to name a few all have things that you can apply to animation in some way or another. - See more at: http://blog.animationmentor.com/animation-as-visual-music/#sthash.STHwTWPz.dpuf

Another Hectic Week

• Learned

Effects are horribly temperamental and can ruin a project at the drop of a hat. It's a cruel fate, but what are ya gonna do? I tried at least... *sighs*

• Want to learn

Better and more efficient use of effects?

• Frustrated you

I seem to be screwing up a lot with time management. Like, whenever I look, there seems to be another project due in a few weeks that I had completely forgotten about because I've been so busy working on other things to notice. It's all piling up so quickly and I don't know if I can manage it all.

Not to mention that the one time I try something outside of my comfort zone, it completely kills my project.  Literally, the only benefit I got out of this whole mess is that now I own a green screen. It's a little small, but it's still a green screen.

Also, there was a small fire in my house the other day. My dad's propane heater has been malfunctioning for the longest time, but he never wanted to accept that it was broken. Well, it finally caught on fire and he finally took it back to the store, but only after he complained about that and everything else under the sun first.

Thanks...

• Made you happy

I've been doing a lot more drawing and it's really clear how much I've improved since last year, or last month, or last week even. Seeing my progress keeps me moving forward so that one day I can look back and say, "I've improved even MORE since then!"

http://youtu.be/4wDGqk7iiIw

I got the chance to watch this animator make this and I thought that it was really impressive, despite being choppy. It gets the point across (her two characters are fusing to make a different, four armed being) and it shows some neat motions. I always find it fascinating when people can actually draw a motion blur.

Heh, makes me miss my animating days. I should download Flash again...

Basics of Bouncing Light

Pointing the light directly at the subject in the scene has its pros and cons. It does what it is supposed to, which is lighting the subject, but it may also cast harsh shadows. Some solutions might be to reflect light from different parts of the room, be it the wall, the ceiling, the floor, or off of a reflector.

Reflecting the light off of different areas grants different effects. For example, reflecting off of a wall might eliminate harsh shadows and the light might wrap around the subject in a flattering way, but it might look flat. A reflector might offer the same benefits, but also offer greater control over the light. Reflecting off of a ceiling would offer the look and feel of natural lighting, but you run the risk of setting off the sprinkler system or causing heat damage to the ceiling. Exercise with caution.

Very useful lighting tips that I will definitely use in the future. I learned different reflection tips and tricks that I wish I had known sooner. When should light be shined directly on the subject rather than be reflected? What are the advantages over the other methods? Proper lighting is essential for any cinematographer. Crappy lighting equals not as good of a film. These tips should be utilized or at least kept in mind when filming projects.

The Sponge Hits the Big Screen (Again)

In this new film, SpongeBob and friends get to go on yet another adventure, but this time, they get to do it not only in 2D, but also in 3D and live action. Man, this guy sure has seen quite a few different technical advances since his humble beginning. Anyway, for his new journey into 3D, the animators behind the little yellow guy and the others were hard at work to make him as lifelike as possible, setting him apart from a plastic toy.

Another challenge was getting their heights correct, both when they were tiny and when they grew to be 6 feet tall. Stand-in people wearing frames were used as reference for the characters in that situation. Since Plankon ended up being taller than the actor, so a holey plywood board was used for his height reference.

Next issue to tackle was lighting. Though it may not be directly visible to the audience, proper care had to be taken to sell the "lifelike-ness" of the film. Special tools were brought with the team as they went to film and entire scenes were modeled so that the lighting could be reflected onto the characters as they would in reality.

Despite the characters getting a new 3D makeover, they still needed to resemble their original animation style. For example, SpongeBob didn't turn very well in 2D, so his turns would often be quick, snappy, and accompanied by some exaggeration. The same had to be done for his 3D counterpart.

Lastly, in the scene with Patrick and the ice cream cone, different methods were tested to get the squishy and flowy look that the animators wanted. Originally, they made the ice cream out of a viscus fluid simulation, but that didn't quite produce the look the team was searching for, so instead the ice cream was morphed and animated that way. For the residue left on Patrick after smothering himself in the ice cream, the animation team applied a wet map to the surface of the ice cream, which not only effected Patrick, but it also effected the ice cream itself, becoming glossier and wetter the more it was interacted with.

I don't much care for 2D cartoons that turn into 3D. I don't personally like the result or the story line behind it, but I suppose I can appreciate all the technical advances that went into making this film a success. I learned about the struggles of animation teams to go above and beyond for the best possible film and what they did to achieve such a task. How do the wet maps work and how can they be applied? Other animators could possibly take inspiration from this. It could act as an encouragement to never give up and to keep searching for the right solution. Don't settle for anything less than satisfaction.

Paper Baggins

• Learned

I learned that green screen work is really tough, but it can also be quite rewarding. Next time I do my green screen work, I should definitely place my lights better so that the shadows aren't so bold. That's definitely going to kill my fictional short. That and the length...

• Want to learn

 Better green screen tactics? Uh... How to use a green screen better? I don't know.

• Frustrated you

My keying is turning out horribly. It is definitely turning out better than I originally thought it would, but it is still agitating.

And for the first time ever, I likely won't be able to meet my time requirement unless I turn it in late. But even if I do record extra footage, what will it be? I will have to think of a new scene and I'd have to update my storyboard and everything like that. It is something I am definitely going to have to think about.

• Made you happy

I proved a nonbeliever wrong. That might sound a little mean, but when they willingly admitted that they were wrong, I felt so good about myself. Like, I believed in myself and in the end, it must have paid off somewhere, somehow.

My boyfriend has been the literal biggest help to me this past week. He has gotten me whatever I need, be it supplies, tools, etc, he gave me a wonderful birthday gift for my 18th birthday (a Wacom Intuos tablet), and he has just been such an amazing help. His selflessness is probably what got me through probably one of the hardest weeks of the year so far and it's what keeps me going. I am so lucky to have someone like him around.

• http://youtu.be/_tZzlqkIQlU

Mystery Skulls Magic, the music video! It's a beautifully rendered 3D animation and I definitely recommend checking it out!  Personally, I couldn't follow the story, not like I could follow Ghost's. It got kind of weird at the end, but the animation was just too beautiful to stop watching. The textures were beautiful and the motions were very fluid and everything seemed perfectly natural (motion-wise). Probably not a video I would watch more than a few more times, but it's still an interesting video all the same.

And if anyone is wondering what the title of this post means, I was just in a livestream with a wonderful artist and she drew her audience as paper bag people. We called ourselves The Baggins, as though we were some kind of Lord of the Rings Parody. I had a blast!

Invisible Boy Editing

When you're watching a movie, you can usually tell what the editing quality is. If it's good, you can barely tell that there's any editing there at all. When it's bad, you can clearly tell, perhaps to the point of annoyance. Bad editing takes the viewers' focus away from what is really important. Good editing however, lets the viewer take in the scenes playing before them uninterrupted. It allows the people to take in all the emotion of the scene without any distraction. It sucks you in and takes you along for a ride without you even realizing it until the ride is over. Good editing is an art and takes years of practice to master.


I think that the article was a little repetitive. It basically said the same thing over and over, but in different ways. Though I suppose that the message was still valuable. I learned that the best type of editing is the kind that you can't see. I agree with what the article said. What types of editing techniques are commonly used by professional editors to make their films look great? Filmmakers should all try to pay close attention to their editing and they should always look to improve.

Animating and Baking

Creature animation: While it feels like a whole other type of animation, it essentially falls under the same category as humanoid animation. Really, it is all just animation, and studios are going to be looking for both on a demo reel. Not that someone with just human animation won't get a job, but someone with a diversified reel has a better chance of getting a job. And including creatures on your reel does not indicate that you're giving up on human animation, it more so implies that you are willing and able to learn and experiment.

In addition to experimenting with different types of animations, different styles should be experimented with as well. While Pixar might not be looking for a hyper-realistic demo reel and Weta might not be looking for a super fluffy and exaggerated style, both will be satisfied by a reel that contains both styles.

In the end, we can't limit ourselves. We have to broaden our horizons and try out things we may not be interested in. Having a diverse reel and trying out a variety of different styles may inevitably help you in the end.

Informative. Good to know. Makes sense. I don't think I learned much, because this feels like common sense. I very much agree with what the article is saying. Diversity is very important on a reel and showing that you aren't limited is a great practice. What do the different styles of animation look like and how can they be told apart? Might a difference be, for example, how long a character hangs in the air when they're expressing themselves? Or is there some other distinguishing trait? Demo reels are very important when looking for a job. This article can somewhat serve as a guide to people just starting their reels.

Weekly Life

• Learned

I don't think I learned much this week in class. Outside of class however, I learned a bit about charcoal pencil drawing and drawing on black paper. It's turning out to be quite fun, though I'm still a bit nervous.

• Want to learn

Green screen stuff? I was going to be working with them soon  and I want to make sure that I'm using them to their fullest potential.

• Frustrated you

Massive workload? Economics class? College stuff? You name it. Nothing I can't deal with, but not something I enjoy either, just to be fair.

• Made you happy

Sleeping. Oh my gosh, I haven't been sleeping that well for the past week or so. When I actually do get a good night's sleep, that's really amazing. I also like it when I'm not constantly grumpy or when I can maintain a good mood throughout the day, but that doesn't usually happen.

I also like when I get to have chocolate. I know it's a little thing, but it makes me happy none the less.

• Link of interest

http://youtu.be/hxy1fkrXmCI

• It's a stop-motion film about painting with legos. I was skeptical before I watched it to the end, but this film appeals to the childish side of me that would love legos and the artist side of me that enjoys the painting (or perhaps lack thereof). The video was as smooth as one might expect a stop-motion film to be and it really looks fantastic. I would definitely recommend giving it a watch.

The Benz and the Hare

In an interview with Robert Stromberg, director of Maleficent, he discussed some of his creative processes while working on a commercial that was aired on Super Bowl Sunday. His mission was to retell the story of the Tortoise and the Hare for the purpose of advertising the new Mercedes Benz. He said that the most difficult part of the project was designing each of the animal characters and giving them human-like personalities. The characters were created with on paper and sent through a series of other programs before finally being modeled in Maya. During the animation process, the characters had to have expressive faces and do expressive human actions. In addition to the animation, live action shots were captured. This proved to be a challenge in itself because the weather was non-compliant for the most part, but the waiting proved to be worth it because the foggy misty shots were a nice addition to the commercial.

I can't say that I learned too much from this article. I enjoyed the new twist on the tale, but that's about it. I learned that the commercial used both animation and live action. How did the director come up with the idea to crossover the Tortoise and the Hare and the Mercedes Benz? Be creative and take inspiration from past successes and stories. An old story could become your next big success.

Fooling the Eye Yet Again

This time we're analyzing a brief tutorial on how to fool the viewers of a film into believing that five or more people can make up an entire crowd. This can be done in a few different ways. By having a small group of five or so people standing in the background and having the actor closer to the camera with a wide lens. When the actors are moving around in the background, the scene feels crowded and heavily populated. For less crowded scenes, simply having a person walk in front of or behind the actor(s) can make the area look more populated than it actually is. Using computer editing and composition, a group of walkers can appear to be an entire army of people by shooting the same people in different places and editing them into the same scene. Using these techniques can save a filmmaker a lot of money, but they may not work as well for some scenes as well as others.

I thought that this was a very useful article to read. I may try to use it in a film if ever given a chance. I learned how to make a not-so-crowded scene look like a crowded scene: few actors required. How does the wide angle lens make a difference? What are the differences between the different types of lenses. This is a cost effective method of filling up a shot. Every filmmaker should know how to do these things.

Regents Weak

(Note: Choosing to write "weak" instead of "week" was a conscious decision, it was not a spelling error)

• Learned

This week I learned that green screens (or the green wall perhaps) is a big pain in the butt to use. Needless to say, I have made many mistakes in my PSA that I am not proud of... Ugh...

• Want to learn

Uh, better green screening? Uh.... better lighting perhaps... Uh...

• Frustrated you

Other than what was stated above, I guess I am getting a little overwhelmed at the sheer amount of work being dumped on us at one time, but hey, that's probably how it's going to be in the real world. All I can do is tough it out and get my **** together.

• Made you happy

Drawing alone, drawing with friends (specifically Emily. She is such a huge inspiration and a big help), watching other people draw, looking at finished drawings, writing, roleplaying with my idols on Tumlr, roleplaying with people who look up to me as an idol on Tumblr (or maybe I'm being a bit arrogant. Yeah, that's probably it), and all things creative and fun that eat up your time when you're supposed to be going to bed but when you turn away from the clock, BOOM, it's 6 am already. Heh, good times...

• Link of interest

https://www.youtube.com/watch?v=UXU_y-GIFsE

• Comments

The artist kind of discussing his thought process and making idol conversation while he does the essential face challenge for his characters. He demonstrates that, when doing this, it is beneficial (or possibly even necessary) to make the same faces that your characters are to make. After all, artists are just actors with pencils.

Five Armies of CGI

Mike Seymour spoke about the various animation and rendering advances of The Hobit: The Battle of Five Armies in response to the film not receiving an Oscar nomination. He begins talking about one of the things that first brought attention to the Lord of the Rings films: the crowd simulation software Massive. Seymour explained how it was used in the newest film to create very entertaining and dynamic battle scenes between clashing armies. In addition to Massive, Army Manager was used to help the director Peter Jackson to visualize the fight scenes and decide the best way to shoot them. The Hobit installment also got to show off the power of the Manuka renderer, which allowed for breathtaking fluid and fire and destruction simulations and allowed for highly detailed renders of characters. Yet despite all of these feats, the film still did not receive a nomination which goes to show just how competitive those spots are.

I was actually pretty shocked that the film didn't earn a nomination. Like, why didn't it? I learned that good movies don't always get Oscar nominations? I don't know. I still have yet to watch the film, but I suppose that if the story was lacking, then I can understand why it fell short, but I have no clue as of this moment. Just how powerful are the computers that render these films and how do you manage an army with a single computer simulation?? Efficient use of CGI can greatly enhance your film, but despite this, it may still go unrecognized (??)

Breaking Bay

In an interview with Michael Bay on action scenes, the director states that he is always trying new things and learning from past experiences. Each new explosive effect, each new camera angle, and each new stunt is a result of this accumulation of experience. An example would be when he was trying out the Phantom Flex (a very high speed camera), the viewer's sense of time and space became distorted to the point of not being able to figure out how fast or how slow something was moving. He also discusses his different uses of camera angles in a scene where the actors have to walk across a set of wires. He wanted to show the fear in the one woman by using a farther and higher up shot from behind her and cutting to a closer, lower angled face shot of the same actor, expressing extreme distress. Again, that scene was shot with a brand new special camera and and it produced the desired effect he was looking for.

Bay also details his experiences shooting in areas such as Hong Kong where the rules and regulations are different than in the United States. The director had to improvise and use new methods to get the necessary areas clear of people.

These experiences and equipment are what make Michael Bay's movies Michael Bay's. The newest camera equipment, the practical effects, the dynamic camera shots are all what set this director out from the rest.

I suppose that Bay could serve as an inspiration for wanting to try new things, but he just came off as arrogant to me. I don't much care for Bay or his practical effects. I learned to try new things and be creative no matter what anyone else thinks (which actually applies to what I am doing now). I want to know how Bay gets a hold of all of this "never before used" camera equipment and why he is alwasy the "first one" to use them (hipster much?). Like I said in the beginning, this could serve as a sort of inspiration to try new techniques and to try things that other people may say is impossible.

I am still not a fan of Michael Bay.

Enjoying the Lazy Days

• Learned

I can't say that I've learned too much while away on my break. I guess I picked up on a few drawing tricks from watching artists over livestreams, but that's about it.

I also learned a bit about explosions :D

• Want to learn

 MORE ABOUT EXPLOSIONS!!

and more drawing/shading/coloring techniques

• Frustrated you

I'm a little nervous about my explosions exercise. I don't want it to be cheesy, but I'm worried that's exactly what's going to happen

• Made you happy

Spending time with friends and loved ones but also spending time away from friends and loved ones.  Sometimes a skype call can mean quite a bit. Thank goodness for that amazing program. <3

• Link of interest 

 https://www.youtube.com/watch?v=ovb-pNuaUPU

• Neat new installment to the Culture Shock series on YouTube. Gaijin Goomba educates the watchers on the lore behind some of Fox McCloud's moveset in Super Smash Brothers. He ties them back to Kitsunes, magical fox creatures of Japanese mythology.

Eye Spy

The eyes are one of the first thing you look at in a human or humanoid being. Previously, they eyes of animated character have been cut and copy, lacking much variation other than color and size. Now, with the help of six cameras with special lenses and special lights, photo-realistic eyes can be made. The eyes are constructed using multiple different layers for the different parts of the eye, the sclera, the cornea, the iris, and the eye proxy. These layers are specially textured and put together to construct a believable eye. Even the dilation of the eye was captured and replicated in the model. These new eyes can potentially increase the quality of foreground characters and improve the quality of the animated films.

I don't know how this will ever effect me, but I suppose it's good to know that photo-realistic eyes are possible. I learned that photo-realistic eyes are made possible by Disney. How do the images taken of the eye help with the modeling? Animation and modeling is becoming considerably more realistic as time progresses. Animation may one day become so realistic that it becomes tough to distinguish between animated and non-animated films.

Character Resizing

Height, or the perception of height, is critical when it comes to characterization. Characters that are tall are typically powerful, menacing, and intimidating. Conversely, characters that are small are seen as weak, youthful, and less frightening. Skillful movie makers utilize this technique to give their characters a certain level of believability, but this can also be manually altered or warped. One of the easiest ways to create the illusion of height is to adjust your camera angles accordingly. To make a character seem taller, lower the camera so that it is looking up towards the subject. The opposite is true if you want to make the subject look shorter. Other tricks can be used such as using wide angle lenses, having the actor stand on boxes, giving the actor larger props to work with, having the subject sit in a taller seat, and altering the setting so that the objects are bigger or smaller than reality.

I thought that the article was very informative and it taught me about tricks that I never would have guessed or realized. I learned of a few new ways to increase or decrease the perceivable size of an actor. How much is too much? What is the fine line between realistic and cheesy when it comes to increasing or decreasing the size of the subject? This is a helpful and very useful trick to know and I should keep it in mind for later use.