What Careers Would I Want To Do?
At this stage in my life I am still experiencing my animation studies. I am still learning all the career options properly and am only physically testing out a small amount of them. Hopefully my college course and my University course will correctly point me in the right direction. So far I have discovered that: I love creating stories, concept art, story boards and I love set creation. I have also found I don't like Character Modelling and I also feel that Texturing is not a profession I would like. I am still to experience animation in itself as well as correct lighting. Due to Covid19 my studies have been limited to online and anything extra would've been learnt of the internet rather than in class taught professionally. This being said I feel proud of myself and what I have achieved so far.
Below are some possible industry careers I would love to look into and hopefully pursue.
Below are some possible industry careers I would love to look into and hopefully pursue.
Storyboard Artist
Storyboard artists play a vital role in the animation procedure. Storyboard artists work closely with the Writers, Directors and Character Designers to create images and story boards that map out the events of a story. This is not only done in animation but all things film and is a useful way of describing a story to the entire production team. The storyboard team roughly map and daw every key frame in the film and make it into something called an animatic. These animatics are basically the complete film done in drawings, edited together to create a rough film. Storyboard Artists translate the Directors vision and script into pictures. They then produce a series of images to print off and put up as a giant storyboard and to allow for shot planning and to ensure there are no continuity errors. Storyboard artists work in studio and can work on a variety of software and techniques to ensure the clearest but most efficient storyboard. I absolutely adore the style of story board drawings and this is the main reason I want to work in this department. A storyboard artist has to be good at the following.
All of the above I feel resemble me. I love drawing and feel I can well, I love storytelling and have been telling stories since I was very young, I know an awful lot about animation and have studied it for years, I am a visual learner and ask an awful lot of questions (ask anyone who has ever taught me) and I watch animations religiously.
- Drawing: have excellent drawing skills and be able to produce artwork in a range of styles
- Storytelling: be able to communicate a narrative well
- Knowledge of animation: be literate in animation with a good understanding of layout, composition, sequential drawing and editing as well as a strong understanding of framing
- Learning by watching and asking: observe what’s happening in your department and company, take initiative, ask questions at appropriate times
- Watching animations: have a passion for the medium and a love of the industry
All of the above I feel resemble me. I love drawing and feel I can well, I love storytelling and have been telling stories since I was very young, I know an awful lot about animation and have studied it for years, I am a visual learner and ask an awful lot of questions (ask anyone who has ever taught me) and I watch animations religiously.
Animator
Animation is where the magic happens. An animator makes everything move and come to life. Animators basically create a series of still images, called frames, and play them at very high speeds to create the illusion on movement. This style of story telling has been around since the 1800's where they created flipbooks with paper and drawings. The earliest example of an animation is Humorous Phases of Funny Faces (1906) which is created on a chalk board. There are other early examples of animation but are all done through flipbooks. Walt Disney had created animations in he early 1900's but revolutionised animation with Snow White, the first feature length animation. This used a feature called technicolour. Each shot drawn frame by frame and with water colour backgrounds. This carried on through the 1900's till 1995 where Toy Story changed animation forever. Toy Story was the first fully 3D animated feature film, meaning all was 3D modelled, including settings and characters. Since, nearly all animations studios have used this technique and it has become a quicker process than drawing each frame in a flipbook style animation.
Animation has improved incredibly through the years (read about this in my "why Pixar?" section). Animators know how characters show emotion and can allow these created characters to connect with the audience in a whole variety of was . They have a fundamental understanding of how things move both technically and scientifically and can make a believable world through computer arts. Animators take the visual storyboards I talked about above as well as a verbal brief from the director. From this they create drawings, models and computer images which gives the illusion of movement. This is animation. Animators work in large teams to ensure the same animation style is created ad to ensure everyone is on the same page.
There are many different animators, such as:
2D Assistant Animators- inbetweeners or clean-up artists
Assistant animators take the original drawings and each frame and apply what is known as "the final line" that will be onscreen. This can also be known as a clean up. These types of animators will also fill in frames the initial animator did not need to produce. They do this under instruction of the animator. An animator will also sometimes film themselves moving for reference and lip sync to the scenes dialogue. This is called Inbetweening. The assistant animators will then animate according to this reference and cop their lip sync. Some studios even record each recording session for reference on how the actors move during speech.
2D Rigging Animators- Puppet Animators
2D puppet animators work with already rigged models in 2D. They have lots of moving parts and is often produced by the art department. Then animator uses these shapes and rigs to animate the characters as explained on storyboards. This can be seen in children's shows like Peppa Pig or Charlie and Lola.
3D/CG Animators
3D animation is possibly the most popular of them all with bug studios like DreamWorks and Pixar using this method from the studios opening. These animators use computers to bring computer modelled characters to life. They movements are pre-programmed through a skeleton mesh known as a rig. These animators animate key frames/blocking shots and then either draw the in between shots y hand or allow the computer to do the work for them. The rigs are tested during the pre production of a film.
Stop-Motion Animators
Stop motion is a very unique animating style. The most famous studio to use this style is Aardman Animations. The animators work with puppets and clay sculpts to create movement. The animators work with cameras to capture the shots in a film. They move the models in between each picture shot taken, one frame at a time. This allows the look of a constant moving sequence. Hundreds of models and faces are created for each film, especially when its a feature film. Some animators are better with moving bodies, some facial features and lip syncing and some may prefer working with other creatures or animals. Examples of stop motion animation would be Wallace and Gromit, Shaun the Sheep, Coraline, The Nightmare Before Christmas, The Boxtrolls and children's shows like Postman Pat, Bob the Builder or The Koala Brothers.
Animators need to be good at the following:
Animation has improved incredibly through the years (read about this in my "why Pixar?" section). Animators know how characters show emotion and can allow these created characters to connect with the audience in a whole variety of was . They have a fundamental understanding of how things move both technically and scientifically and can make a believable world through computer arts. Animators take the visual storyboards I talked about above as well as a verbal brief from the director. From this they create drawings, models and computer images which gives the illusion of movement. This is animation. Animators work in large teams to ensure the same animation style is created ad to ensure everyone is on the same page.
There are many different animators, such as:
2D Assistant Animators- inbetweeners or clean-up artists
Assistant animators take the original drawings and each frame and apply what is known as "the final line" that will be onscreen. This can also be known as a clean up. These types of animators will also fill in frames the initial animator did not need to produce. They do this under instruction of the animator. An animator will also sometimes film themselves moving for reference and lip sync to the scenes dialogue. This is called Inbetweening. The assistant animators will then animate according to this reference and cop their lip sync. Some studios even record each recording session for reference on how the actors move during speech.
2D Rigging Animators- Puppet Animators
2D puppet animators work with already rigged models in 2D. They have lots of moving parts and is often produced by the art department. Then animator uses these shapes and rigs to animate the characters as explained on storyboards. This can be seen in children's shows like Peppa Pig or Charlie and Lola.
3D/CG Animators
3D animation is possibly the most popular of them all with bug studios like DreamWorks and Pixar using this method from the studios opening. These animators use computers to bring computer modelled characters to life. They movements are pre-programmed through a skeleton mesh known as a rig. These animators animate key frames/blocking shots and then either draw the in between shots y hand or allow the computer to do the work for them. The rigs are tested during the pre production of a film.
Stop-Motion Animators
Stop motion is a very unique animating style. The most famous studio to use this style is Aardman Animations. The animators work with puppets and clay sculpts to create movement. The animators work with cameras to capture the shots in a film. They move the models in between each picture shot taken, one frame at a time. This allows the look of a constant moving sequence. Hundreds of models and faces are created for each film, especially when its a feature film. Some animators are better with moving bodies, some facial features and lip syncing and some may prefer working with other creatures or animals. Examples of stop motion animation would be Wallace and Gromit, Shaun the Sheep, Coraline, The Nightmare Before Christmas, The Boxtrolls and children's shows like Postman Pat, Bob the Builder or The Koala Brothers.
Animators need to be good at the following:
- Art: draw and reveal attitude, emotions and mood through a character’s movement, have spatial awareness and a feel for movement over time
- Knowledge of animation: have a good understanding of the principles and mechanics of animation
- Communication: be able to understand and share creative ideas, have productive discussions and take notes on your work
- Organisation: work within the production schedule, create your drawings and animation to meet deadlines
- Watching animations: have a passion for the medium and a love of the industry
Set Modelling
Set modelling has been a newer interest of mine since my FMP in my first year of college. My favourite part to the project was creating the environment my story would take place in. This continued in my second year where I learnt more about texturing and continued to develop my set dressing skills.
Set modellers work of storyboards and animatics to create a 3D environment that the film will take place in. These modellers may create a scene inside or create entire buildings, towns or even cities and worlds! Modellers or model makers build the digital or physical versions of everything that is seen on screen in an animation. They translate concept art, character designs and environment designs into models ready to be animated.
Stop-motion animation
Model makers create physical models of the characters and other objects out of modelling clay or other materials. They create lots of identical versions of the characters to be moulded in different ways for different scenes. To do this, they break down the design for a character into simple, easy to construct shapes. The job can involve a variety of skills including sculpting, mould making, casting foam, latex or silicone, fettling (trimming or cleaning the rough edges), metal working, welding, painting, finishing and costume making.
Model makers need to establish colour themes and consider and test materials for construction. They also need to think about the scale of the model in comparison to sets and props. A head model maker will often be in charge of these decisions, as well as hiring crew and liaising with outside suppliers. They consider technical, timing and budget restrictions. Large studios might also have a model-making team leader who supervises a team of model makers.
3D CG animation
Modellers create digital versions of the characters and props, which can then be ‘rigged’ to be animated. They start by creating a wire framework. They then sculpt around this to develop how the model looks from all angles.
Modellers provide initial feedback to designers on whether a design is going to be possible to model to then be rigged and animate or not. Therefore, good communication with designers, riggers, animators and the director is very important. Modellers need to keep their work ‘on model’ (in the art style of a project) and meet the creative and technical requirements of the project. Riggers can then develop the joints and rig (points of articulation) of characters, using the model frame created by the modeller. These two steps enable models to be able to be animated. Often in smaller to mid-sized studios, the modeller is responsible for texturing and colouring the model themselves.
Set modellers work of storyboards and animatics to create a 3D environment that the film will take place in. These modellers may create a scene inside or create entire buildings, towns or even cities and worlds! Modellers or model makers build the digital or physical versions of everything that is seen on screen in an animation. They translate concept art, character designs and environment designs into models ready to be animated.
Stop-motion animation
Model makers create physical models of the characters and other objects out of modelling clay or other materials. They create lots of identical versions of the characters to be moulded in different ways for different scenes. To do this, they break down the design for a character into simple, easy to construct shapes. The job can involve a variety of skills including sculpting, mould making, casting foam, latex or silicone, fettling (trimming or cleaning the rough edges), metal working, welding, painting, finishing and costume making.
Model makers need to establish colour themes and consider and test materials for construction. They also need to think about the scale of the model in comparison to sets and props. A head model maker will often be in charge of these decisions, as well as hiring crew and liaising with outside suppliers. They consider technical, timing and budget restrictions. Large studios might also have a model-making team leader who supervises a team of model makers.
3D CG animation
Modellers create digital versions of the characters and props, which can then be ‘rigged’ to be animated. They start by creating a wire framework. They then sculpt around this to develop how the model looks from all angles.
Modellers provide initial feedback to designers on whether a design is going to be possible to model to then be rigged and animate or not. Therefore, good communication with designers, riggers, animators and the director is very important. Modellers need to keep their work ‘on model’ (in the art style of a project) and meet the creative and technical requirements of the project. Riggers can then develop the joints and rig (points of articulation) of characters, using the model frame created by the modeller. These two steps enable models to be able to be animated. Often in smaller to mid-sized studios, the modeller is responsible for texturing and colouring the model themselves.
Set Design/Concepts
Layout artists begin their work at the start of an animation production, after the storyboard and the look of the project have been agreed upon. Layout artists determine the depth and perspective of what is displayed on screen. The way that this is achieved varies depending on the kind of animation being produced. These artists then design sets and environments that then have to refined and modelled.
In traditional 2D hand-drawn animation, layout artists define the perspective of the animation frames by drawing the backgrounds. The relative size of the objects in the background of a flat image, as seen in the Disney classics and then they are compared to the action in the foreground. This influences how viewers see the scene. How large or small characters or other pieces animated scene appear to be influences how the audience feel. 2D layout artists base what will appear in the image on the storyboard, but they more clearly define what appears in an animation frame.
In 3D animation, layout artists are the directors of photography (DoPs) in a virtual space. A DoP in a live-action movie makes decisions about lenses, camera angles and camera movements. In a 3D animation, the layout artist makes the same decisions, but with a virtual camera within 3D animation software.
3D layout artists listen to the Director to learn the desired style of virtual photography for the animation. Then they work from storyboards and tidy up the rough versions of the animation (known as animatics). They work out the timing and the placement of the characters at key points within each shot. This is known as blocking. They aim to keep a consistent scale to the elements within the frame, always working out how best to tell the story. They do a rough version of the lighting and produce the shots.
In stop-motion animation, there are no layout artists because this animation form is photographed by physical cameras and, therefore, there are actual DoPs.
In traditional 2D hand-drawn animation, layout artists define the perspective of the animation frames by drawing the backgrounds. The relative size of the objects in the background of a flat image, as seen in the Disney classics and then they are compared to the action in the foreground. This influences how viewers see the scene. How large or small characters or other pieces animated scene appear to be influences how the audience feel. 2D layout artists base what will appear in the image on the storyboard, but they more clearly define what appears in an animation frame.
In 3D animation, layout artists are the directors of photography (DoPs) in a virtual space. A DoP in a live-action movie makes decisions about lenses, camera angles and camera movements. In a 3D animation, the layout artist makes the same decisions, but with a virtual camera within 3D animation software.
3D layout artists listen to the Director to learn the desired style of virtual photography for the animation. Then they work from storyboards and tidy up the rough versions of the animation (known as animatics). They work out the timing and the placement of the characters at key points within each shot. This is known as blocking. They aim to keep a consistent scale to the elements within the frame, always working out how best to tell the story. They do a rough version of the lighting and produce the shots.
In stop-motion animation, there are no layout artists because this animation form is photographed by physical cameras and, therefore, there are actual DoPs.
Editor
Editors are responsible for the final film. They sit and edit all scenes and sounds together that you see in the final cut of the film. At the beginning, they work with the Writer, Director and Producer, discussing the script and storyboard. They plan the different scenes and shots. They work out what will need to be animated and how scenes will be pieced together.
Once the animation work has been done, they arrange the final footage and prepare a rough cut, making revisions for the final cut which must be approved by the producer. Editors then oversee the incorporation of audio into the film, collaborating with sound designers and music editors.
Once the animation work has been done, they arrange the final footage and prepare a rough cut, making revisions for the final cut which must be approved by the producer. Editors then oversee the incorporation of audio into the film, collaborating with sound designers and music editors.