To become a Computer Animator, or any type animator for that matter you NEED to develop your artistic skills. The number one advice you get from an animator is draw, draw, draw. To get a job at a big studio like Disney or Pixar you DO NOT need a degree of any kind. It is reccomended you take classes in the subject at an art school and get a degree but again, it is NOT necessary. You do need skills and a demo reel to prove it. Art schools and animation schools help you learn skills to be able to do this. A demo reel is basically a visual resume of your work which studios use to see what you can do. For Pixar in particular, you do not need to learn a specific software package (until you get the job) because theirs is proprietary and they don't judge you on what you can do on a computer but mostly on how well you can perceive movement in 3 dimension, that can be on paper, with clay, or on a computer. So what I would do is just get your art skills at their very best by taking art classes and drawing a lot! Also make sure you like what you're doing, becasue it's not all funa nd games, unfortunately.
Regarding salaries, it is very varied, from $30,000 a year to $90,000 depending on where you work and what position you have.
Here are some links taht may help you:
Pixar (http://www.pixar.com/companyinfo/jobs/ca…
Quote: A Pixar Animator should be able to bring life to any object or character, showing the character’s internal thoughts and feelings through its physical external motion. To do this, the Animator must be a good actor. His or her work should communicate clearly, containing simple ideas with which an audience can empathize. The animation should be entertaining to watch, employing good timing and relying on individualized, believable characters to put forth humor and emotion.
Software doesn’t matter; learning to animate matters
Disney (http://www.disneyanimation.com/careers/f…
Quote: Generally, any open position will require a strong resume, and if applicable a portfolio and/or reel, shot breakdown and submission form which address the requirements of the position. You must love making movies, solving creative problems, and working in a team environment.
Hope I could help. :)
Source(s):
Pixar.com
Showing posts with label Personal Development. Show all posts
Showing posts with label Personal Development. Show all posts
Tuesday, 14 July 2009
Sunday, 12 July 2009
Monday, 15 June 2009
reel-exchange
Extract from:
http://reel-exchange.com/about.html
15/06/2009
About Us
Launched April 2007, Reel-Exchange is a professional networking website connecting film and video professionals with clients and collaborators in the industry.
Reel-Exchange is brought to you by the editors of millimeter and Digital Content Producer the leading production and post-production magazines for film and video professional.
Why Join Reel Exchange
Reel Exchange is a professional business-to-business community that connects you with other film and video professionals around the country and around the world. Members will find project work and permanent positions, hiring opportunities, and potential collaborators for on-spec projects.
Reel-Exchange hosts demo reels and other types of professional content (trailers, short films, sample commercials, etc) that demonstrate professional skill in the various disciplines. Search based on geographic location, discipline, equipment/format, project credits, and more.
Your Reel-Exchange reels and bio will receive exposure on a level that would be very difficult, expensive, and time consuming to achieve in any other way.
As the Reel-Exchange community grows, we're confident that it will be ever-more valuable to you and other members.
Welcome to Reel-Exchange!
http://reel-exchange.com/about.html
15/06/2009
About Us
Launched April 2007, Reel-Exchange is a professional networking website connecting film and video professionals with clients and collaborators in the industry.
Reel-Exchange is brought to you by the editors of millimeter and Digital Content Producer the leading production and post-production magazines for film and video professional.
Why Join Reel Exchange
Reel Exchange is a professional business-to-business community that connects you with other film and video professionals around the country and around the world. Members will find project work and permanent positions, hiring opportunities, and potential collaborators for on-spec projects.
Reel-Exchange hosts demo reels and other types of professional content (trailers, short films, sample commercials, etc) that demonstrate professional skill in the various disciplines. Search based on geographic location, discipline, equipment/format, project credits, and more.
Your Reel-Exchange reels and bio will receive exposure on a level that would be very difficult, expensive, and time consuming to achieve in any other way.
As the Reel-Exchange community grows, we're confident that it will be ever-more valuable to you and other members.
Welcome to Reel-Exchange!
Myths of The Animation Industry
taken from Animation Mentor newsletter 06/05/2009
The animation industry is the business of creating myth and magic. As such, it's not surprising that a myriad of meta-myths have arisen—easy-to-believe falsehoods about the industry itself. In preparing for their future careers, the next generation of animators and artists need not be waylaid by such rumors. Below are five common myths about the world of cartoons and the realities behind them.
Myth: 2D animation is a dying art.
Nothing could be further from the truth. While 3D animation is filling theaters across the globe, 2D art endures. Internationally, films such as Sony Picture's Persepolis and Paprika continue to astound audiences with engrossing, hand-drawn cinema. Locally, Walt Disney Animation is hard at work on its 2D feature, The Princess and the Frog, while shows such as Nickelodeon's Avatar: The Last Airbender and Cartoon Network's Chowder provide bright futures for the traditional style. Beyond television, the Internet has spawned numerous opportunities for Flash-based 2D projects as well.
Myth: It's essential to be adept at every facet of the animation process.
To quote G.I. Joe, "Knowing is half the battle." The other half is being good at what you do. Familiarity with the entire animation process can only help you, but you are being hired for a specific position. In the words of Knowledge Adventure 3D Artist Chris Marsh, "Fanning your effort and skills out to do everything the process demands only decreases your quality of work and increases production time, and that's never good." The animation process requires the efforts of many specialized individuals. Walt Disney didn't achieve his whimsical empire by being the greatest animator ever. He did so by assembling the greatest animation team ever. Discover what you do best and strive to do it better.
Myth: You want to work for a big studio.
Certainly there's no shame in working for a large studio. Who wouldn't want to have Mickey Mouse on their business card? But smaller studios have their share of perks too. A smaller company gives a great artist more opportunity to shine. Networking becomes easier, and there's more room to expand your personal style.
Myth: You should stick with a single studio for as long as possible.
Ladders: We all have the urge to climb them, especially corporate ones. But in the animation industry, sometimes it's important to spread your artistic wings. Surely no one wants an artist who never sticks around to finish a project, but by changing studios and production companies from time to time, you make yourself better known to the animation community as a whole, networking, and becoming associated with your body of work rather than your company's. "A good stint at a company is one to three years," says Big Bad Tomato digital storyboard artist Sylvia T. Leung, "it shows you are committed enough to stay, but ambitious enough to leave."
Myth: You don't need to know how to draw.
While drawing is not necessarily a key skill in today's world of texture mapping and wire framing, it's still a valuable technique in almost every step of the animation process. Putting pencil to paper, breaking down complex objects into simple shapes, and translating them into graphite blueprints will help artists of all fields better their craft. This ability will also make you more attractive to a wider number of prospective employers. Remember, even Rodin roughly sketched his figures before casting clay.
Just as 24 drawings a second creates the illusion of motion, assumptions and opinions give the illusion of industry facts. Fortunately, the truth is usually quite optimistic and should give any budding artist hope for their creative and professional future.
Mark Garabedian has been an animation aficionado from a young age, having worked his first job mowing lawns in Massachusetts to buy cels. An Emerson College alumni, Mark is now a freelance animation writer and member of the Animation Guild residing in Burbank, Calif.
http://reel-exchange.com/insider/myths_of_animation_industry_050609
The animation industry is the business of creating myth and magic. As such, it's not surprising that a myriad of meta-myths have arisen—easy-to-believe falsehoods about the industry itself. In preparing for their future careers, the next generation of animators and artists need not be waylaid by such rumors. Below are five common myths about the world of cartoons and the realities behind them.
Myth: 2D animation is a dying art.
Nothing could be further from the truth. While 3D animation is filling theaters across the globe, 2D art endures. Internationally, films such as Sony Picture's Persepolis and Paprika continue to astound audiences with engrossing, hand-drawn cinema. Locally, Walt Disney Animation is hard at work on its 2D feature, The Princess and the Frog, while shows such as Nickelodeon's Avatar: The Last Airbender and Cartoon Network's Chowder provide bright futures for the traditional style. Beyond television, the Internet has spawned numerous opportunities for Flash-based 2D projects as well.
Myth: It's essential to be adept at every facet of the animation process.
To quote G.I. Joe, "Knowing is half the battle." The other half is being good at what you do. Familiarity with the entire animation process can only help you, but you are being hired for a specific position. In the words of Knowledge Adventure 3D Artist Chris Marsh, "Fanning your effort and skills out to do everything the process demands only decreases your quality of work and increases production time, and that's never good." The animation process requires the efforts of many specialized individuals. Walt Disney didn't achieve his whimsical empire by being the greatest animator ever. He did so by assembling the greatest animation team ever. Discover what you do best and strive to do it better.
Myth: You want to work for a big studio.
Certainly there's no shame in working for a large studio. Who wouldn't want to have Mickey Mouse on their business card? But smaller studios have their share of perks too. A smaller company gives a great artist more opportunity to shine. Networking becomes easier, and there's more room to expand your personal style.
Myth: You should stick with a single studio for as long as possible.
Ladders: We all have the urge to climb them, especially corporate ones. But in the animation industry, sometimes it's important to spread your artistic wings. Surely no one wants an artist who never sticks around to finish a project, but by changing studios and production companies from time to time, you make yourself better known to the animation community as a whole, networking, and becoming associated with your body of work rather than your company's. "A good stint at a company is one to three years," says Big Bad Tomato digital storyboard artist Sylvia T. Leung, "it shows you are committed enough to stay, but ambitious enough to leave."
Myth: You don't need to know how to draw.
While drawing is not necessarily a key skill in today's world of texture mapping and wire framing, it's still a valuable technique in almost every step of the animation process. Putting pencil to paper, breaking down complex objects into simple shapes, and translating them into graphite blueprints will help artists of all fields better their craft. This ability will also make you more attractive to a wider number of prospective employers. Remember, even Rodin roughly sketched his figures before casting clay.
Just as 24 drawings a second creates the illusion of motion, assumptions and opinions give the illusion of industry facts. Fortunately, the truth is usually quite optimistic and should give any budding artist hope for their creative and professional future.
Mark Garabedian has been an animation aficionado from a young age, having worked his first job mowing lawns in Massachusetts to buy cels. An Emerson College alumni, Mark is now a freelance animation writer and member of the Animation Guild residing in Burbank, Calif.
http://reel-exchange.com/insider/myths_of_animation_industry_050609
Wednesday, 16 April 2008
Careers in animation
http://www.skillset.org/animation/careers/3D_computer/
Extract from the above website:
Jobs in 3D Computer Animation
3D Computer Animation, or CGI, takes place in a variety of different contexts. Therefore it is important to remember that different companies will have different interpretations of what a job role entails.
Some jobs will exist in one studio but not in others - for example - whilst a Storyboard Artist is a very key role within feature production, the same job rarely occurs within a Facility House as storyboards will be provided by the client.
In general, UK Facility Houses tend to call all roles TDs (Technical Directors) rather than the title of the specific job and this means there are TDs in all specialities with varying levels of skills.
When considering a career in Computer Graphics, it is a good idea to think about whether you see yourself more as a creative or a technical person. Many jobs will require both attributes but most favour one or the other. Some will be almost entirely creative but others are exclusively technical and for some of those knowledge of Maths or Physics may be required.
Development
The Development stage broadly involves the conceiving and identifying of ideas; and designing initial concepts. Pitching the product and securing funding and intellectual property rights are also important at this stage.
The Development stage very much requires a strong understanding of the target market and any commercial constraints, opportunities and competition it presents.
Jobs in Development:
Director Producer
Pre-Production
In broad generalised terms, the Pre-Production stage involves ‘fleshing out the idea' to make it ready for production, typically involving: writing the script; drawing the storyboard; designing character turnarounds; designing layouts / backgrounds; and creating an animatic. For post-production companies much of this work will be undertaken by the client.
Jobs in Pre-Production:
Production Designer Layout TD (several levels)
Art Director Layout Supervisor
Concept Artist * (often 2D) Layout Artists (Rough and Final) *
Character Designer (often 2D)
Environments Designer Storyboard Supervisor
Effects Designer Storyboard Artist
. Storyboard Assistant *
Head of Tools (R & D) Pre-Vis Artists (3D) *
Tools Writer
R & D Artist/Look Dev Artist
Production
In CGI the production stage involves building, rigging and texturing models; animating characters, and setting up and lighting scenes. Rendering is also undertaken to output the animation sequences ready for compositing and editing.
Many of these activities can be undertaken either by manually manipulating objects on the computer screen or by using software-scripting languages to automate the process, and frequently involve combinations of both approaches.
In fact, animators represent a fairly small proportion of the crew, many fewer than in 2D. It is significant that CG is often more sequence led than character led. Each animator can be asked to animate all the characters within a shot; whereas in 2D, a lead animator may handle a character throughout a project. This practice can vary from project to project.
Jobs in Production
Assistant Director Effects (FX)Supervisor
Visual Effects (VFX) Supervisor Effects (FX) Artist/FX Animator
Director of Photography Effects (FX) TD (several levels)
CG Supervisor Cloth Simulation FX Artist
Fur/Feathers FX Artist
Modelling Supervisor Water FX Artist
Modelling TD
Modeller 3D Tracker/Match Mover *
Shading/Texture Supervisor Digital Painter
Shading TD Matte Painter *
Shader Writer
Texture Artist/Texture Painter Lighting Supervisor
Lighting TD / CG Lighter (several levels)
Rigging Supevisor
Rigging TD Fixing TD
Rigger
Character TD Rendering Supervisor
Rendering TD
Shot TD (Facility Houses) Renderer
Render Wrangler *
Set Dressers
Runner *
Animation Director
Lead Animator (Supervising Animator) Systems Administrator
Animator IT Support *
Character Animator
Junior Animator Production Secretary
Production Assistant
Post-Production
Post Production involves collating assets - e.g. filmed footage, digital animation sequences, special effects into the finished film. It includes editing, scoring the music, quality checking and outputting the final product into the required formats.
Some animation companies focus exclusively on post-production and deliver special effects for film, TV and commercials.
Jobs in Post-Production
Compositing Supervisor Editor
Compositor Editing Assistant
Roto Artist *
Scanning TD
Scanner/Recorder *
Wire Remover*
* entry level with appropriate qualifications
Extract from the above website:
Jobs in 3D Computer Animation
3D Computer Animation, or CGI, takes place in a variety of different contexts. Therefore it is important to remember that different companies will have different interpretations of what a job role entails.
Some jobs will exist in one studio but not in others - for example - whilst a Storyboard Artist is a very key role within feature production, the same job rarely occurs within a Facility House as storyboards will be provided by the client.
In general, UK Facility Houses tend to call all roles TDs (Technical Directors) rather than the title of the specific job and this means there are TDs in all specialities with varying levels of skills.
When considering a career in Computer Graphics, it is a good idea to think about whether you see yourself more as a creative or a technical person. Many jobs will require both attributes but most favour one or the other. Some will be almost entirely creative but others are exclusively technical and for some of those knowledge of Maths or Physics may be required.
Development
The Development stage broadly involves the conceiving and identifying of ideas; and designing initial concepts. Pitching the product and securing funding and intellectual property rights are also important at this stage.
The Development stage very much requires a strong understanding of the target market and any commercial constraints, opportunities and competition it presents.
Jobs in Development:
Director Producer
Pre-Production
In broad generalised terms, the Pre-Production stage involves ‘fleshing out the idea' to make it ready for production, typically involving: writing the script; drawing the storyboard; designing character turnarounds; designing layouts / backgrounds; and creating an animatic. For post-production companies much of this work will be undertaken by the client.
Jobs in Pre-Production:
Production Designer Layout TD (several levels)
Art Director Layout Supervisor
Concept Artist * (often 2D) Layout Artists (Rough and Final) *
Character Designer (often 2D)
Environments Designer Storyboard Supervisor
Effects Designer Storyboard Artist
. Storyboard Assistant *
Head of Tools (R & D) Pre-Vis Artists (3D) *
Tools Writer
R & D Artist/Look Dev Artist
Production
In CGI the production stage involves building, rigging and texturing models; animating characters, and setting up and lighting scenes. Rendering is also undertaken to output the animation sequences ready for compositing and editing.
Many of these activities can be undertaken either by manually manipulating objects on the computer screen or by using software-scripting languages to automate the process, and frequently involve combinations of both approaches.
In fact, animators represent a fairly small proportion of the crew, many fewer than in 2D. It is significant that CG is often more sequence led than character led. Each animator can be asked to animate all the characters within a shot; whereas in 2D, a lead animator may handle a character throughout a project. This practice can vary from project to project.
Jobs in Production
Assistant Director Effects (FX)Supervisor
Visual Effects (VFX) Supervisor Effects (FX) Artist/FX Animator
Director of Photography Effects (FX) TD (several levels)
CG Supervisor Cloth Simulation FX Artist
Fur/Feathers FX Artist
Modelling Supervisor Water FX Artist
Modelling TD
Modeller 3D Tracker/Match Mover *
Shading/Texture Supervisor Digital Painter
Shading TD Matte Painter *
Shader Writer
Texture Artist/Texture Painter Lighting Supervisor
Lighting TD / CG Lighter (several levels)
Rigging Supevisor
Rigging TD Fixing TD
Rigger
Character TD Rendering Supervisor
Rendering TD
Shot TD (Facility Houses) Renderer
Render Wrangler *
Set Dressers
Runner *
Animation Director
Lead Animator (Supervising Animator) Systems Administrator
Animator IT Support *
Character Animator
Junior Animator Production Secretary
Production Assistant
Post-Production
Post Production involves collating assets - e.g. filmed footage, digital animation sequences, special effects into the finished film. It includes editing, scoring the music, quality checking and outputting the final product into the required formats.
Some animation companies focus exclusively on post-production and deliver special effects for film, TV and commercials.
Jobs in Post-Production
Compositing Supervisor Editor
Compositor Editing Assistant
Roto Artist *
Scanning TD
Scanner/Recorder *
Wire Remover*
* entry level with appropriate qualifications
leeds design directory
Been searching google for design agencies in Leeds. The top one is quite useful because it has direct links to their websites.
Google maps:
http://maps.google.co.uk/maps?ie=UTF-8&oe=utf-8&rls=com.google:en-US:official&client=
firefox-a&um=1&q=design+agencies&near=Leeds&fb=1&view=text&sa=X&oi=local_group&resnum=
1&ct=more-results&cd=1
Leeds Directory:
Google maps:
http://maps.google.co.uk/maps?ie=UTF-8&oe=utf-8&rls=com.google:en-US:official&client=
firefox-a&um=1&q=design+agencies&near=Leeds&fb=1&view=text&sa=X&oi=local_group&resnum=
1&ct=more-results&cd=1
Leeds Directory:
Tuesday, 15 April 2008
Tyson Ibele
Sony commercial by Tyson Ibele - really well organised animation stressing the importance of detailed planning and storyboarding. Fantastic idea possibly influenced by the latest Transformers film; well executed. Loads more to come from this guy...
Anim8or download
Piece of free software i've found on the internet, downloaded it for the pc, so not entirely sure if its available for the mac. Looks like a really basic 3d rendering program handy for knocking something up quickly. Comes highly recommended by Tyson Ibele an animator, whose work i can only describe as shit hot.
Monday, 14 April 2008
David Carson
Some absolutely beautiful pieces of work in here. Carson stipulates the importance as a designer to interpret something.
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