Thoughts on Subtext

I have just discovered a great blog post by animator Tomas Jech, who was (I believe) an animation intern at Pixar when this post was written in 2008.

He offers some great tips about thinking through the thoughts and actions of your character for ways to add subtext to a shot. Jech offers notes on three topics: personality, feelings, and thoughts.

From Jech:

Personality: what is your character generally like? how does she hold herself? is she an introvert or extrovert? Personality will dictate your initial posing of the character, and how the feelings and thoughts are framed.
Feeling: what is your character like right now? what is the context of the scene? Feeling is layered onto the personality, an introvert who currently feels outgoing will look very different then someone outgoing who is feeling outgoing.
Thoughts: What is your character thinking? Thoughts are shaped by the personality, feeling and context. Thoughts are the last internal process. For instance, when you touch something hot, your body reacts first, then you think “SHIT, THAT IS HOT!” and it isn’t until after you think that you speak.

Check out the original post for a great example of what NOT to do from funnyman Ben Stiller.

“…From Planning To Polish…” Trailer by Jamaal Bradley

I love me a good tutorial, and Jason Ryan Animation is usually the first place I look when I need some new tips, tricks, or plain old inspiration. Now available in his store is an amazing 3-hour walk-through of a shot from planning to polish by DreamWorks animator Jamaal Bradley. In this 3-part tutorial, Bradley walks us through every aspect of completing an acting shot, from dialogue analysis to final polish.

Check out the trailer here:

 

“…from Planning to Polish…” Promo Trailer from Jamaal Bradley on Vimeo.

I am currently working my way through the massive tutorial and trying to absorb all of the great little tips and tricks that make up Bradley’s workflow.

Thanks to Jason Ryan for making these tutorials available! Bradley’s series is for sale in the JRA Webinar Store.

Breaking Into Animation With Steve Hickner

If you ever need a quick inspiration boost, check out Creative Talent Network’s Vimeo channel. I stumbled upon this treasure trove by clicking a link somewhere to the a talk given by Dreamworks Director/Producer Steve Hickner from 2009.

Steve Hickner has been in the animation business for 30 years, and shares his experiences with the CTN audience on the topic of breaking into animation and staying there.

Here are some of the bullet points I found to be most helpful and encouraging:

Attitude – Attitude is a huge factor in assembling a creative team. Hickner correctly states that “There’s nothing more collaborative than animation.” And for such a collaborative art, people don’t want to work with jerks. “Some people just light up the room when they come in… and you like you be around people like that.” It’s much easier to bounce ideas around with someone who has a good attitude and is eager to participate in the group effort. If it’s a decision between two equally-talented animators, I can guarantee that an animation team will hire the person with the better attitude.

Think Outside the Box – do what someone else won’t take the initiative to do. As Hickner says, “The person who does something different will stand out and you’ll remember them.” This can be something as simple as writing a hand-written letter vs. sending an impersonal email. I actually have first-hand experience with this one: after the AM graduation ceremony, I sent the three founders of the school a hand-written thank-you for all that they had done to create the wonderful community of animation students. I immediately got a personal message from one of the guys through the AM website saying that it stood out because he actually doesn’t get many thank-you cards. The card took 5 minutes to write, 44 cents to mail, and it started a conversation with one of the founders of my school and led to him looking at my work and giving me personal feedback!

Never Turn Down a Combat Mission – “Everybody who says ‘no’ and turns down a combat mission; you don’t know where that’s going to lead.” Every time someone says no and you say yes, you inch forward. Unless it’s something totally crazy, you’re probably going to get brownie points for taking on a project that other people won’t. Treat everything as a learning experience; say “yes,” because you never know what might turn out to be an amazing experience, the next blockbuster film, the stepping stone to a promotion, etc.

Again, if I might add a personal story: In 2009, I was fortunate enough to be offered an internship at Blue Sky Studios in Connecticut. The studio had just moved into a new facility from White Plains, NY, and a lot of people were still unpacking. When I showed up for my first day of work, I had no computer, no login/password, and no phone. Instead of doing what one of the other interns was doing – nothing – I went on the search for a project. Hello, mailroom! The kind facility guys told me that I could simply sort by department and that the production assistants would then deliver it to the right person. Well, since they were all busy and I was not, I decided to just take it directly to the individuals. It was a great way to match faces to names and to introduce myself! It led to one of the animators inviting me to hang out at his desk and showing me what he was working on. Without an armful of mail, I probably would have taken a lot longer to work up the courage to talk to the animators and tell them how eager I was to one day work as an animator, but they welcomed me with open arms on day one because they were impressed that I had taken on a task that no one else wanted.

This goes hand-in-hand with Hickman’s next tip:

Ask for Opportunity, Not Money – Ask to do something new instead of asking for more money. This seems like an over-simplification, but what Hickner means is that you’re going to get a lot more out of a great opportunity than you would out of a few dollars more. In the long run, jumping into a new project or learning a new technology will make your career a richer experience, and will only lead to even more new and challenging projects.

Twice during the talk, Hickman mentions that he’s written a book. I searched Amazon but couldn’t find anything. If anyone knows of it or has seen it listed somewhere, please share!

Musician Brian Eno on the Creative Process

In case you’re feeling a little restless this Memorial Day weekend, the 99 Percent offers tips on developing creative practice from none other than musician/composer/producer Brian Eno (U2, Talking Heads, Roxy Music).

We creative types are constantly surrounded by different stimuli, especially while sitting in front of the computer. And we’ve all felt that sinking feeling of a creative block. You’ve been staring at the screen for hours, but nothing’s happening. When do you usually get THE IDEA? When you’ve taken a break to fold some laundry, take a shower, etc.

Unfortunately, there’s no scientifically-proven, fool-proof way to wake up your inner creative self. However, there are tools Eno has come up with throughout his career to help get you through the doldrums and back into the creative mindset.

Check out the article for his top five tools.

 

 

The Accidental Creative: Being Effective is More Important Than Being Efficient

Yes, I just wrote a long, rambling post on some productivity tips, but here’s another one! I can always count on Jason Schleifer to find the best productivity tips for creative folks.

Today on his blog, he linked to a site called the Accidental Creative, specifically to an article about the importance of being “effective” rather than just “efficient.” It’s a great follow-up to his posts on Quality vs. Quantity in animation. Yes, you can break down your time and blow through tasks at rapid-fire pace. But how well are they getting done? How much focus are you really giving the important things in life?

Check out the Accidental Creative and learn how to “get to the good stuff.” Founder Todd Henry even has a book, “The Accidental Creative: How to Be Brilliant at a Moment’s Notice,” and the first chapter is available for free download.

Thanks Jason!

Getting Creative Things Done and Maintaining Focus, From The 99 Percent

While perusing my daily newsletters from Etsy  (in my spare time – ha! – I make jewelry), I came across a few more great articles from The 99 Percent. I love when I find articles or techniques that apply not only to animation, but the rest of my hobbies/life.

Since I am, ahem, unemployed, I work from a home office. It’s great. I have everything I need, including my pets. I also don’t have to drive anywhere. However, it does have some disadvantages. Because I work from home, I tend not to keep a regular schedule. I also give in pretty easily to distractions, which are almost constant. The dryer buzzes, the dog wants to go out and bark at nothing, I hear the mailman come by, I should really re-organize that closet… you know how it goes. You think something will take five minutes, and then somehow it’s dinner time. I’ve written on this before, but it’s an ongoing problem.

Because I am at least aware of this problem, if not always actively trying to fix it – sometimes there’s nothing more therapeutic than re-organizing a closet – I always keep a lookout for techniques/tips/tricks for battling distraction and staying focused.

The 99 Percent published an article called “A Day Without Distraction: Lessons Learned from 12 Hrs of Forced Focus.” Now, we can’t all be lucky enough to get 12 hours without some sort of distraction, but writer Cal Newport does bring up some interesting ideas. It essentially boils down to attacking tasks in 30-minute blocks. If you devote 30 minutes to small tasks, then they’re out of the way and hopefully off your mind until the next 30-minute block for small tasks. This method will ideally keep you focused on the task at hand for that block instead of constantly giving in to that desire to check your inbox.

The technique, called “Batching,” seems like a great idea for people who can break down tasks in that manner. Even if I tried to ignore the Internet – I sometimes disconnect mine when I’m in the zone on a shot – sometimes you gotta jump over and look for that amazing shot from some movie, or hit the forums somewhere to figure out WHY THE HELL MAYA IS DOING THAT EVEN THOUGH I’M PUSHING THE RIGHT BUTTON. Was that out loud? Sorry.

Newport realizes that not everyone can batch so cleanly. You should also check out his article, “Getting Creative Things Done: How to Fit Hard Thinking Into a Busy Schedule.” This article is a little more geared towards those of us who sometimes need to stare into space for our 30-minute block, trying to imagine the perfect acting beat or hand pose. Based on David Allen’s GTD method, this article points out some great ways to organize the nebulous mental state of a creative.

I’ll stop rambling and let you check out the articles for yourself, but before I go, I’d like to highlight the last bullet point Newport lists under his GCTD system: “Focus on process, not goals.” This is especially important as a student of animation. I constantly have to stop myself from looking at every shot as: “This one better get me a job,” and instead as, “I really hope to learn better body mechanics from this shot.”

As an animator, you’re NEVER going to stop learning. That’s what’s so great about the industry! So, to abuse an old cliche, focus on the journey, not the destination.

Happy trails!

 

Tips and Tricks for Saving Your Work (in Maya) From Tim Sormin

Few feelings can trump the terror, frustration, and general homicidal tendencies that result from losing your work in Maya. We’ve all seen it (well, those of us who work on Macs): the pinwheel of death. You were totally in the zone, polishing away, just zipping through who knows how many frames. And then that little pinwheel pops up.

“Oh shit.” When’s the last time you saved? Who knows?! When’s the last time you got up to get a snack? Maybe you saved then? You can’t remember! And you won’t know how much time and work you’ve lost until the whole thing shuts down and feels like opening again.

In an attempt to help save the sanities of countless animators, Tim Sormin has provided Kenny Roy’s great animation site with a list of tools that will help remind you to save your work! Check it out here and save yourself some heartache.

And never forget, back ups are your best friend. I have external hard drives, jump drives, burned CDs and DVDs, and even some hard copies of text files. My boyfriend thinks I’m crazy (for many reasons, I’m sure), but I recently heard a sad story from a friend whose house was broken into while he was away. He had just finished his student film, was working for a small studio, and had some freelance gigs going. The burglars took everything they could find, including his external hard drives. With two weeks to go on a huge deadline, EVERYTHING was gone. That story shook me to my very core, and now I have back ups of backed-up back-ups.

Mike Walling’s Overlapping Action Walk-Through Now Available!

My good buddy Mike Walling, who just finished work on Kung Fu Panda 2 has somehow found the time to make another great walk-through for Jason Ryan/iAnimate.net.

Shortly after joining iAnimate.net, Jason Ryan’s new online animation school, Mike put together a great in-depth walk-through on a body mechanics shot featuring one of the school’s characters, Skyscraper. Even though body mechanics is one of the few areas of animation I feel pretty comfortable with, I immediately purchased it. I do not regret a cent! (And Mike didn’t pay me to say that, although I should probably talk to him about that…)

This new tutorial, which is a very affordable $9.99, is a one-hour walk-through on animating overlap and follow-through using Totts, a “thing on a spring.” In addition to being a ball on a spring, Totts has a little feather or tuft of hair, which is perfect for illustrating these important concepts clearly.

Mike is largely self-taught and has had a pretty impressive journey to feature film animation, so I always enjoy seeing how he approaches different shots. I had the good fortune to work with him at Blue Sky Studios during Ice Age: Dawn of the Dinosaurs, and he was always willing to talk me through what he was working on, even during crunch!

I mean, let’s face it. A tutorial is a tutorial. They can be a bit dry and technical by nature. Mike, however, livens things up a bit by letting you watch him work on the technical stuff while he talks about broad concepts ranging from finding motivation, learning that it’s ok to fail and even better to fail A LOT, and how to keep finding the fun in what you’re working on. We all know how to set keys and adjust curves; that part doesn’t need constant narration. The real value in Mike’s tutorials are that they’re sort of two-in-one – the technical side and the practical side.

No matter what your skill level, these walk-throughs are great to check out, if only to see how Mike works. I’m looking forward to the next, which I hope will be facial expressions or acting.

I for one cannot wait to see Kung Fu Panda 2, in theaters this Friday (May 27). I saw a few clips during a recent visit to Dreamworks (see above photo), and I’ve heard amazing reviews of the film so far. Plus, if you visit the website, you can get a sneak peak of some of Mike’s work – he did the Po animation on the homepage!

PS – Mike, you can send me cash or a check for the plug. I kid, I kid.

Jason Schleifer Tackles The Great Animation Debate

Jump on over to Dreamworks animator/animation supervisor Jason Schleifer’s blog to check out the series of articles he has written on one of the great animation debates: Quality vs. Quantity.

Any animator worth his or her salt is a perfectionist. In fact, computer-generated animation demands it. The computer wants to make things mechanical and mathematical, and it’s up to the animator to make it organic and natural. This constant battle, however, takes time. A lot of time. But we all know that time is money, and studios aren’t made of time.

As an animator-turned-supervisor at Dreamworks, Schleifer has a ton of experience balancing the demands of meetings and dailies with actually animating. He also mentors and lectures for Animation Mentor! Here he offers a few tips and tricks for animating smarter and faster while maintaining studio-level quality.

Schleifer also blogs a fair amount about productivity and is a supporter of David Allen’s Getting Things Done (GTD) program. These articles are a great marriage between the GTD method and animation. For example:

“Here’s the agreement you can make with yourself that will reduce your stress 10-fold. Agree that you will give yourself 3 hours at the start of every shot to explore ideas. Give yourself 10 minutes to write down the emotion that you want the character and the audience to feel. Give yourself 20 minutes to talk to another animator about it. Give yourself 1 hour to thumbnail (do you know how many thumbnails you can do in an hour?). Give yourself 20 minutes to look at other shots of the character that other animators have done.”

Check out all four articles over at Jason’s blog:

Part 1: Quality vs. Quantity: The Great Debate

Part 2: Quality vs. Quantity: Learning to Focus

Part 3: Quality vs. Quantity: What About Quality?

Part 4: Quality vs. Quantity: Intent