The Forest from David Scharf on Vimeo.
Tuesday, September 29, 2009
Another nice style...
Haha I feel I'm getting my blog full of different styles... I would love to give each of them a try!
Monday, September 28, 2009
Thursday, September 24, 2009
Tuesday, September 22, 2009
Work with different styles by Victor Navone
Concerning style, how have you learned to match the style of a film? In other words, how have you approached animating so that the film appears as if it was animated by one person?
Consistency is a big issue at Pixar, because we don't have Character Leads, in the traditional Disney sense. Pixar animators are assigned scenes, not characters, so any animator may animate any character at a given time in the film. This is one of the reasons that dailies are so important. We can all sit down in a room with the Director and Supervisors and see what's being done with the characters. The Director can decide what works and what doesn't, and further define how the character behaves. This helps us to all get on the same page and understand who the character is. Usually one or two animators will demonstrate a knack for a certain character, and their work will become a touchstone for the other animators to reference. These animators will occasionally give lectures to discuss what we've learned and give tips on how to approach a particular character.
We'll also develop model sheets (collections of images of the character in poses that are considered in-character on and on-model) as well as libraries of facial expressions that other animators can use as a starting point. Ultimately it's up to all the animators, Supervisors and the Director to police each other and work towards a consistent portrayal of the character.
found @ animationtipsandtricks.com
Consistency is a big issue at Pixar, because we don't have Character Leads, in the traditional Disney sense. Pixar animators are assigned scenes, not characters, so any animator may animate any character at a given time in the film. This is one of the reasons that dailies are so important. We can all sit down in a room with the Director and Supervisors and see what's being done with the characters. The Director can decide what works and what doesn't, and further define how the character behaves. This helps us to all get on the same page and understand who the character is. Usually one or two animators will demonstrate a knack for a certain character, and their work will become a touchstone for the other animators to reference. These animators will occasionally give lectures to discuss what we've learned and give tips on how to approach a particular character.
We'll also develop model sheets (collections of images of the character in poses that are considered in-character on and on-model) as well as libraries of facial expressions that other animators can use as a starting point. Ultimately it's up to all the animators, Supervisors and the Director to police each other and work towards a consistent portrayal of the character.
found @ animationtipsandtricks.com
Sunday, September 20, 2009
Victor Navone on Body Language
Victor Navone analizes this scene by letting us know how each character feel about the other by just paying attention to their body language. I totally think it's a great piece to study.
For the compete analysis head to this link.
For the compete analysis head to this link.
Laika cuts computer animation
Portland’s Laika studio (Coraline) has scrapped all its plans for creating CG features and will instead focus on making stop-motion films exclusively. The studio laid off 63 computer graphics employees today, according the website SlashFilm. UPDATE: Studio publicist Maggie Begley wrote in to clarify: “It’s not accurate to say that the studio is abandoning CG altogether. They will continue to use CG opportunistically in stop motion films and will continue to develop CG projects in house for further down the road.”
For more go to Cartoon Brew's blog.
You gotta check out this great looking test
It's Sunny Kharbanda's blog, he is doing some test trying to get a cartoony style which looks amazing.
Here is how did the backgrounds.
Friday, September 18, 2009
Thursday, September 17, 2009
Great sites for video references
My mentor Nicole Herr gave us these links which I find very helpful when the time comes to look for video refs.
www.youtube.com
www.gettyimages.com
www.bbcmotiongallery.com
www.pond5.com/
I finally finished AM class 4, but I gotta say I feel the luckiest person in the world because I had Nicole as my mentor, I learned lots from her... Thanks a lot Nicole!
www.youtube.com
www.gettyimages.com
www.bbcmotiongallery.com
www.pond5.com/
I finally finished AM class 4, but I gotta say I feel the luckiest person in the world because I had Nicole as my mentor, I learned lots from her... Thanks a lot Nicole!
Wednesday, September 16, 2009
Rythm and Texture by Victor Navone
I found this @ Victor Navone's blog, he explains what Texture in animation is...
These are a couple of animation terms that get tossed around a lot, and many animators are not completely clear on exactly what they mean (I wasn't completely sure about them myself until well into my animation career). One reason I think they're so hard to pin down is that there's a lot of overlap (not that kind of overlap) between them, and it's hard to talk about one without referencing the other. Kind of like trying to talk about spacing without talking about timing and arcs. But lest I digress, I'm going to talk a bit about rhythm and texture as specifically as I can, and how important they are in your animation. I suppose I should attempt to define these terms before I go much further, so here's how I understand them:
Rhythm - how the actions or "beats" in a shot are spaced out over the length of a scene. You might also call this "tempo". Unlike with music, good animation has an inconsistent rhythm, making it less predictable.
Texture - the variations of timing and poses in your shot. Big and little actions, slow and fast timing, flurries of action and holds. A shot in which all the actions are the same size, have the same timing, and occur in an even rhythm has no texture.
The complete article can be found in http://www.navone.org/blogger/2009/09/rhythm-and-texture.html#links
These are a couple of animation terms that get tossed around a lot, and many animators are not completely clear on exactly what they mean (I wasn't completely sure about them myself until well into my animation career). One reason I think they're so hard to pin down is that there's a lot of overlap (not that kind of overlap) between them, and it's hard to talk about one without referencing the other. Kind of like trying to talk about spacing without talking about timing and arcs. But lest I digress, I'm going to talk a bit about rhythm and texture as specifically as I can, and how important they are in your animation. I suppose I should attempt to define these terms before I go much further, so here's how I understand them:
Rhythm - how the actions or "beats" in a shot are spaced out over the length of a scene. You might also call this "tempo". Unlike with music, good animation has an inconsistent rhythm, making it less predictable.
Texture - the variations of timing and poses in your shot. Big and little actions, slow and fast timing, flurries of action and holds. A shot in which all the actions are the same size, have the same timing, and occur in an even rhythm has no texture.
The complete article can be found in http://www.navone.org/blogger/2009/09/rhythm-and-texture.html#links
Tuesday, September 15, 2009
September Animation Mentor Newsletter is out!
Check it out here: http://www.animationmentor.com/newsletter/0909/index.htm
Saturday, September 12, 2009
Last Assignment for Class 4
I'm almost done with class 4 and already excited for class 5... here is my work in progress of my first dialogue with AM, it has limited facial, in class 5 I'll be finishing it, for now just a playblast...
How NOT to network
I got this article while visiting Rich Fournier's blog, he got it from http://www.awn.com/articles/career/career-coach-how-not-network.
Great advices to follow...
Great advices to follow...
Networking is a vital career skill. But there are rules to follow. One of the most important is don’t be a networking leech. Do not suck the lifeblood out of your network.
Most people who worry about being too network aggressive usually have a long way to go before being labeled networking parasites. But some cross the line. If any of these people sounds like you, it’s not too late to change.
Here are a few real life examples of networking leeches that were shared by friends.
A girl I met at a party immediately demanded to know the address and contact information of my employer as soon as she found out I was working. I did not even know her.
Then there was the guy who pumped me for information very pointedly every time he saw me and constantly e-mailed me seeking job leads.
Thursday, September 10, 2009
Cameron Fielding
This guy is just fantastic, I can't stop being amazed...
CamAnimation08 from Cameron Fielding on Vimeo.
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