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Old 02-08-2006, 11:21 PM   #61
simayi
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Alex Kim
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Thank you so much for taking the time to answer my questions... it's great to get some thoughts from you!!

it's a great help!

cheers,

alex
 
Old 02-08-2006, 11:36 PM   #62
emilioG
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Emile Ghorayeb
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part 8

Fede:

anytime you have is good time. Just try not to do things halfway. If you're gonna do something, take it as far as you can.
What I've learned over the years is that animation isn't only principles, knowledge, and blablabla, it's also confidence. I can honestly say that this is probably 50% of it right there. Hard to believe, I know. I remember stalling before shots, and I still do. But suck it up, and go for it! And if you're not content with it, the time you spent with it isn't wasted, you learned alot and the next time you'll be even better!

Reading is good, but remember to put what you read to practice! try them out

Whether I feel good enough or not? I still don't feel good enough... lol

_______________________________________________

markovicd.:

1) I've been snowboarding for 15 years, and occasionally skateboard when I can (since I was 12). I also like playing tennis. I played soccer and when I was a kid.
2) my problems when I was learning principles: ALL of them! But don't feel like you're not doing good. I know we all went through that and I still feel it sometimes when I see other people's animations and think to myself "o... m... g... that's just crazy animation!!!"



_______________________________________________

living_for_cg:

1) Around 30
2) We get to animate all the characters on our shots, which is really fun 'cause we get to touch them all! We usually get time to learn the characters before hand, so when we animate them, we all try to be on character. And with our leads and directors keeping an eye on things, if one of us animates soemthing that might be off, we're notified and clean up the mistake.
3) There's no question... um, I'll try to answer... yes! I agree. lol

_______________________________________________
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Old 02-09-2006, 12:03 AM   #63
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Rafael Rubio Muñoz
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mmm, a pdi/dreamworks character animator here, and there aren't a lot of questions . Lets go for my third round of questions.

1. as a character animator in pdi, what part in animation do you think that is the most important? I'm speaking in all animation process.
2. Your favorite animation film?
3. Your favorite live action film?
4. Can you tell me a little about your tricks with eye blinks? How many frames between one blink and next one? How many frames you use in each "normal" blink?
5. Some tricks to polish your animated shot to give him the final quality?
6. In what animation principle you try to put more emphasis to stand out your animation? Which of them you believe that it is the most important?

Well, thats all for now friend! Again, i'm very happy to talk to you friend! You're a coooooooooooooool guy friend!
 
Old 02-09-2006, 01:17 AM   #64
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Josh Martin
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Me Again,

I went to animationmentor.com and it looks promising, especially since I learn best with the computer. Although I noticed they do not teach modelling or rigging. Where would you suggest I could go for modelling and rigging? Also, Puss 'n boots was my favorite character from Shrek 2 :P Thanks for makin' him so pussy cat cool oh, and one last question; What software do you use for animation/modelling and what are your home pc specs?

Thanks again for taking the time to answer all these questions!

-Dren T. Martin
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Old 02-09-2006, 02:00 AM   #65
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Brian Nichols
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Have just one more question for ya. Do you find that studios you've been associated with prefer an animation reel in which a single linear storyline is the focus or one which has a collage of various motions(lip sync, object interaction, ect.)? I suppose good animation is good animation regardless of the presentation, no?
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Last edited by detached : 02-09-2006 at 02:05 AM.
 
Old 02-09-2006, 03:32 AM   #66
emilioG
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Emile Ghorayeb
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part 9

pighat:

I'm not too sure how they get modeled, but they look like polys to me when they get into our hands. But don't take my word for it! And I'm proud to say that our guys develop their own hair here. Geniuses.

_______________________________________________

Rafalon:

You don't give up, do ya! lol

1) If you're talking about which part as in from the beginning of a shot to the end, I'd say planning. Why? Because you should have a clear idea of what you're gonna do. It should be set in your head alrady before yopu touch the mouse, so this part, technically speaking, is your whole shot. After that comes execution.

2) Bambi, by a long shot. I'm a total suck for these kinds of films. Next in line would be The Lion King.

3) Fight Club. I have a soft side (bambi), turns out I obviously have a dark side too. "I ran 'til my veins pumped battery acid,... then I ran some more." Genius. This whole movie is a total 180 turn from everything else out there, IMHO.

4) blink is usually 2-3 up, 2-3 down. Depends on the read. I find myself doing 3 up, 3 down on Shrek3. But the trick is slow ins and slow outs. Here's how I set my keys:
0%
25%
100%
75%
0%

5) Trick isn't in the polish, it's in the key poses. Like I said before, if all your key poses are well set, there's barely any work left. I mean, there still is alot, but if you did your poses right, whether you're the type to offset or add keys, most of your overlaps, antics, etc. should all be there already. I likegoing in and even adding overlap/antics on eyebrows, jaw, whatever. It adds fluidity.

6) refer back to #1

_______________________________________________

Dren:

I'm not too familiar with whcih schools can teach you modeling/rigging well I'm afraid. I learned at work. There are books out there. That and going to school should give you a good base to go from.

PC specs:
Dual Xeon 2.4
GeforceFX 6800 GT
23" flat Dell Widescreen
Win 2000
12X17 graphic pad
Adobe Photoshop 7
3dsMax 7.5


_______________________________________________

detached:

good animation is good animation. Most animators here don't have a short film per say, but I see nothing wrong with having one. I think it's great that schools push you to do this. In the end, i think a short definitely helps you as an animator.
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Old 02-09-2006, 04:32 AM   #67
Avi T
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Avi T
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I have another 2 questions:

1. How do you go about doing the snappy movement of the penguins? (slow outs and fast ins?)
2. What tips do you have for kids in high school who are aspiring to come and work at places like Pixar and Dreamworks?

(Also, on a side note, I just noticed that you and I have the same birthday!)\

Thanks!
 
Old 02-09-2006, 06:57 AM   #68
jig
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hi,

my question is, do you have any experience in classical 2d animation? if you do, how do you compare it with 3d?

thanks.
 
Old 02-09-2006, 12:30 PM   #69
Chris Bacon
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Chris Bacon
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Thanks for your replys

just a few more questions if thats ok,

I LOVE animation..all kinds....I was wondering onece you can see a shot in your head you see the characters moving from a angle that works...how do you go about taking that idea and putting it onto screen,

Also realy quickly...sound....obiously you cant have a short film without sound...whats involved in that...I mean you obiously need the sound off the scene your going so you can animate it in sync...what are the processes involved in making the sound, not just the actors voices but the background noises...(thinking off shreck while Im typing)

And finaly...whats was it like working with Andrew Adamson I watched the interviews with him after shrek 2 but whats he like to work with,


Cheers and thanks for your replys dude..

Chris
 
Old 02-09-2006, 02:53 PM   #70
norman365
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Andrew Holden
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thanks so much for the feedback, just have three more questions if you don't mind.

1. Before becoming a professional, roughly how long did you practice animating per day?

2. With the continuing evolution of technology and software such as endorphin that gives you in-built real world physics and things such as behavioural animation (I think this is the correct term), are you worried about how much control is been taken away from the artist?

3.leading on from your last answer about think about a character's past, do you think it's important to think about who a character is even on a physical action?

again, thanks a lot for taking the time to answer all our questions.
 
Old 02-09-2006, 03:44 PM   #71
rocket
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Hey,Emile!
I am very glad, always LOVE your Madagascar, saw for many time ! some question above you already had answer, you are excellence! now my question is:

1, what do you think that how old restrict animatior can do work for the animator position in big animation studio like PDI/DreamWorks ?
2, can do you show photo of your workroom to here ? let us see how cool is your workroom.

thanks a lot!
 
Old 02-09-2006, 07:24 PM   #72
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part... 9?

Avi T:
  1. well, the best way I can describe it to you without actually showing it is this: whatever move you would animate with more reality based movement, with squahs and stretch you still have to base yourself on this, but “play” with reality. What I means is that on any given move, you have to shave out frames inbetween the beginning and end poses, but the big trick is that you have to compensate for those frames so it stays believable. So, say a character would hop from point A to point B, instead of doing it in say 44 frames, do it in 34. Here's where you would get your snap: hold your anticipation longer than you would normally, squash the character more than he would in reality, pop him to the apex of the jump in less frames than you would normally, and to make up for the shaved frames, stretch the character on take off and unstretch right before he gets to the peak, hold him a few more frames on the apex, stretch him again to come back down, unstretch and squash when he lands for the overshoot, and then bring him back to normal. You just learned how to squash and stretch! lol
  1. the earlier you learn, the better. If you're dying to become an animator, DO GOOD IN SCHOOL! Once you finish high school, look into taking animation courses. To find the right school for you, look around first to se what fits you best. Until then, read books, watch all the animated films you can, and talk to people in these forums. You're on the right track

Our Bdays ROCK!

_______________________________________________



jig:

Unfortunately, I do not have any 2D experience. If i would've know, way back when I studied, I would've most definitely enrolled in a 2D program. For comparison, I tend to use 2D methods like flipping pages, where I skip between poses to get the right feel. I try to always put all my overlaps in my poses. All this to say that like 2D, they didn't have the option to “shift keys”, and that's what I strive for. The more you get there, the more you know what you're doing.


_______________________________________________



Vivec:

I tend to visualize my shot completely before I get started. Writing notes is very important so you don't forget what you're gonna do. When it comes time to actually do it, I rpioritize my characters from most complicated to least. Also, if there's any contact, I always block the 2 characters together.

wow, big question. Well, I don't do much sound, but I know there's cd's you can buy wioth tons of sounds, or you can record your own. It's good practice to get in touch with someone that is in that field if you plan on doing this, they could give you much better insight than I can

I didn't personally work with him during Shrek2. We mostly worked with Conrad Vernon, Kelly Asbury and Aaron Warner, and they were great and definitely energetic!


_______________________________________________




norman365:

1. i didn't until I was in 3D school. Unfortunately, they didn't teach much animation in the classes I took, that's why I cannot stress enough that if you want to animate, go to a school that involves animation and not some general 3D school. I was lucky enough to get a job and learn while I was at work.
  1. Actually no. In my eyes, these tools are helping us concentrate on performance. What I mean is instead of devoting X amount of time on ear and tail overlap, I can take that time and spend it on more inportant things like thought process and everything involved in, well, performance
  1. Definitely. Example: a lazy versus a confident character running. The lazy one will run slower, drag his feet more, put less effort in keeping his body straight. The confident one will run stronger, faster paces, lean into his run much more, etc.
_______________________________________________


rocket:

  1. well, I think the youngest animator we have is 25. I can't say for sure, but I would be surprised if PDI hired people without schooling unless they are VERY talented, but I'm not sure.


  2. lol. I can't show you what it's like in here... I think a lazer would hit me! You can go to www.dreamworksanimation.com to see what the campus' look like, or look in the extra's on the dvd's to see some people's workstations. Sorry buddy

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Old 02-09-2006, 10:29 PM   #73
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Hello!

Just a Big question: A Great animation needs a great model
How much poligons have Shrek, donkey... well a character like those

If is posible, (please, please, please) can you show a detailed wires

TANKS A LOT
 
Old 02-09-2006, 10:29 PM   #74
ThePhotographer
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I'm kind of shy to say something here ....

Well, the Shrek movies are to me the best in 3D until now - I know that some people prefer others, but it were those who just knocked me off my feet .... I'm a mother of a couple of guys who are 6 to 9, so I get to see almost EVERYTHING !

Anyway, in Shrek 2 - I don't know if you were the responsible, but the entrance scene where Prince Charming takes off his helmet and gets his hair loose .... that's SIMPLY amazing !

Because of the Shrek movies I bought Cinema 4D a year ago - but I'm sorry to say that I have made nothing since then - just a couple of tutorials and now it's gathering dust lack of time ....

I want to be as good as you some day !
 
Old 02-09-2006, 10:52 PM   #75
Chris Bacon
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Thanks for the replys dude..

again LOVE your work..

Last edited by Vivec : 02-10-2006 at 01:43 AM.
 
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