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?
Thursday, April 30, 2015
Sunday, April 19, 2015
[Insert Creative Title Here]
- Learned
- Want to learn
- Frustrated you
- Made you happy
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.
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.
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.
Sunday, April 12, 2015
SMASH
- Learned
- Want to learn
- Frustrated you
- Made you happy
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.
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.
Friday, April 10, 2015
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.
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.
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