Release. Pressure. Animate.

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inside software or the addition on software, and can be done with very small files that have to be installed or set-up. Often so small it can easily be taken along on a small webserver, attachment in an e-mail, USB stick or even your phone. Working digitally in general though didn‟t stop him and others (among them are Niels Beekes and Tiffany Ford) from using other things on the physical desk space. Junaid always keeps his character sheets close to check if he‟s still on model and Tiffany mentioned using post-its almost everywhere for reminders and small comments. Again we can see that the analogue workspace - the space that the animator will only „connect‟ with once he stops focusing on-screen – is often used for checklists, remembering ideas, reference for character sheets and small thumbnail sketches of poses. The same accounts for cut-out animators, the task of planning and notations is just as much needed for them. In the digital environment there‟s no more need for the extensive bulk of pages of drawings and corresponding x-sheets as the sequence of drawings for a shot are bundled in one file. Some organization is thus already done by the software itself, but file management and a good pipeline are still very important. A checklist on what to do and to check when something is completed is still very useful as we‟ll see when discussing Niels Beekes‟ workflow. Especially if you need to focus on the motion and really live the character it is important to not be disturbed by anything else. You suffer quite literally cognitive overload. You‟re overloading your memory and when that happens you‟re never paying close attention to anything. You‟re never focusing on one thing for an extended period of time. (Carr, fora.tv) By creating a good strict planning, like a to-do list or checklist you can reduce the amount of things you need to remember. This leaves more room in the mind for creative thoughts and focus on the animating. Niels Beekes, owner of Aniforce – specialized in flash-style animations, deserves a honorable mention for funniest workflow for staying motivated to work hard and to achieve the best you can every time. He rewards himself points for each task he assigns himself and finishes satisfactory. He keeps track of the amount of points he has, how many he gets a week and his current high-score. Ever since he‟s introduced it to himself he‟s been trying weekly to reach a new high-score or to get just those extra points at the end of the week. But besides this geeky game-like rewarding system he uses to keep himself focused and having fun at the same time he has been dealing with working as efficiently as possible. He mentioned the data wrangling involved with a project and he hinted at using a Google Docs Excel sheet, an online hosted document for maintaining data. For him, going through a project closely resembles writing a book. Books have chapters, paragraphs, words and letters. You start by looking what you want to write in general (the subject) and choose the chapters that fit accordingly. Later on you expand this with subchapters and the paragraphs; 2. The difference in Animation fields 4 0
customizing and tweaking the whole book overall while you go along. Divide everything from preproduction, production and post-production down to their chunks as small as possible, the essence of the creation. The chunks make it easy to divide the time you have for the project and choose how much time you need for every part of the production. His setup is said to work great in team projects, as it‟s easier to specify what everyone is working on. Besides, for Niels it is rewarding to check parts as finished as he assigns himself points. What we learn from Niels, as he is owner of a single-man studio he often focuses on everything in the production, is the importance of creating manageable small tasks (as chunks) and the need for checking them off when finished. He stays fully focused on the task at hand, because he knows he is done with previous chunks and doesn‟t have to worry about the coming chunk because he knows he‟ll have enough time. This is because he listed and checked it all in the checklist and assigned the available time accordingly. Besides, the checklist is an extremely goal-oriented approach and the – kind of geeky though efficient – leveling system makes him raise the bar for himself every day. This constant challenge for reaching his clearly set goals with the best possible use of his skills makes it so that he always knows where he‟s going, what he‟ll have to do and how he‟s going to do it. This system seems to be built for flow. The criteria are met and the process is there. The cut-out style (which could also be done analogue and sometimes still is) is not based of a new drawing every frame. The benefit of this is that characters can carry very rich graphical treatments like texture, decoration, etching effects and shading. Often the mood and texture in a cut-out animation is what makes it so magical and is exactly what fans adore of it. (http://minyos.its.rmit.edu.au/aim/a_notes/01_cutouts_project.html, June, 2011) In 3D animation textures are created once for each model (before animating) making detailed textures become part of the character without any added complexity, time or cost overhead whilst animating. An example of the richness in texture within cut-out animation. This is done traditionally. Yuri Norstein – Hedgehog in the fog (1975) Even more, cut-out animation can even be created in 3D animation software and by artistic choices doesn‟t necessarily need the richness in texture, an example of this is South Park (1997, Comedy Central). They tried to mimic original paper crafted animation 2. The difference in Animation fields 4 1
Page 1 and 2: PRESSURE. RELEASE. ANIMATE. How to
Page 3 and 4: “Art challenges technology. Techn
Page 5 and 6: Table of Contents Table of Contents
Page 7 and 8: Introduction Not a very long time a
Page 9 and 10: This is all evolving around the mai
Page 11 and 12: There are two difficulties in discu
Page 13 and 14: 1.2 How can a flow be maintained or
Page 15 and 16: this piece of art - posing the char
Page 17 and 18: You know that feeling when you watc
Page 19 and 20: without any reference or sketching.
Page 21 and 22: 2.1 Animating like a puppeteer. (St
Page 23 and 24: ond with the character often create
Page 25 and 26: everything done smoothly at the mom
Page 27 and 28: same, hence a „tick‟ of the lig
Page 29 and 30: This paragraph is about what in gen
Page 31 and 32: “Too much action spoils the actin
Page 33 and 34: working clean and keeping your head
Page 35 and 36: think in the ways of those strong p
Page 37 and 38: the motion and action of the charac
Page 39 and 40: this can be a reliable way for „i
Page 41 and 42: It‟s hard to have a clear distinc
Page 43 and 44: the background. Any distraction at
Page 45: or the mixed approach as described
Page 49 and 50: as the character parts don‟t actu
Page 51 and 52: As with traditional animation and m
Page 53 and 54: example you could divide the pipeli
Page 55 and 56: ecognizable style on its own, but f
Page 57 and 58: issue. “While early production mo
Page 59 and 60: There‟s a need for a strict goal
Page 61 and 62: Simplicity is what animators seem t
Page 63 and 64: Simple thinking Complex effects Ful
Page 65 and 66: creating a thorough plan that doesn
Page 67 and 68: Because using the early computer sy
Page 69 and 70: work you‟re looking at, regardles
Page 71 and 72: we‟ll see. According to a job des
Page 73 and 74: day polishing splines, arcs and spa
Page 75 and 76: It‟s important to allow supervisi
Page 77 and 78: doesn‟t. For him they were mainly
Page 79 and 80: - Discuss with supervisor. - Animat
Page 81 and 82: the animator (like reviews by the s
Page 83 and 84: By now I‟ve presented the importa
Page 85 and 86: the final movie too. They might see
Page 87 and 88: progression of the shot before star
Page 89 and 90: In management I‟ve noticed while
Page 91 and 92: already know exactly what pose happ
Page 93 and 94: (Autodesk Whitepaper - The New Art
Page 95 and 96: with a limited amount of informatio
Page 97 and 98:
information to be (possibly) presen
Page 99 and 100:
for. Sometimes it is necessary to a
Page 101 and 102:
pop out is simplicity. For every ta
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goals (based off of storyboard and
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up and shut it down instead of a co
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development 22 . Since the tracking
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The same accounts for playing the a
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animation studios, and if it were u
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on it, as well as use it automatica
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offer functionality for this in a r
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guessing right away what the best t
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to focus on only these parts and ma
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een developed through the years for
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data to handle through the years se
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applying it to your objects animati
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allows you to quickly sculpt tweaks
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quickly and easily check your anima
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without worrying about what and whe
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viewing and commenting accordingly
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stimulation might interfere with ac
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A picture depicting an overview of
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of the animating) could need this t
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tools that really helped with the c
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never really ended up using it as f
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But looking at the character from t
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otate around his head took me at mo
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As stated we worked faster and were
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Conclusion The main focus of my res
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management, start using it and twea
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Reference Sources Animation Mentor
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Hoffman, Hans; T. Weeks, Sara; H. H
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1. Workflow and Pipeline clarificat
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