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So here's a new-ish cartoon I was involved with. I did the colours, character design, script, etc. I think it's a big improvement over the last one! Ever go back and look at the last thing you've made before the latest thing and think 'wow, that looks like poo poo now' despite doing the same thing to the previous work?
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Sep 17, 2014 15:08
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scarycave posted:Honestly, I'd think I'd be okay doing stuff like this for a living. korusan posted:So here's a new-ish cartoon I was involved with. I did the colours, character design, script, etc. I think it's a big improvement over the last one!
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Sep 17, 2014 15:30
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SRM posted:...and technology all have educational videos that need animating, and people are starting to wise up and get tired of the really lovely outsourced stuff. Interesting, I'll look into it. Thanks for the advice dude! JuniperCake posted:If you want a structured environment, hit up your local community college. Some do offer illustration and animation classes, and even if they don't, they'll have lifedrawing and traditional drawing classes which are still helpful. They probably wont have people like Feng Zhu teaching classes or whatever, but you can hit those kinds of people up on online workshops and what not if you really want to be taught by an industry person. Better to pay 1000 for one workshop then go into debt you won't be able to pay off at some of the 4 year art schools. Lots of good books and stuff on the net too. I'm currently in my second year of CC enrolled in the fine arts program. You are totally on point about how much technical drawing skills help animation, I've noticed a huge improvement despite not animating for a very long time. I've considered learning programming along with animating, they seem very useful for together generating effects as well as career opportunities. I am a little reluctant because of how difficult and complex it seems, plus maths. Thanks for the advice man, I'll take it into consideration.
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Sep 17, 2014 22:39
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SRM posted:It's just different enough that I can still do cartoon-type stuff for fun without it getting old. It's a field I didn't even know existed before I applied for the job! How would you go about applying for a job like that?
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Sep 17, 2014 23:39
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scarycave posted:How would you go about applying for a job like that? SRM fucked around with this message at 00:55 on Sep 18, 2014 |
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Sep 18, 2014 00:52
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Oct 1, 2014 04:58
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I want my computer to do that. (wait, is it taking money from him or giving it to him? I want the latter.)
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Oct 3, 2014 01:02
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I had trouble with that, too, but if you watch the coins it's easier to tell.
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Oct 3, 2014 04:11
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yeah it's not real clear, is it? hm. shoulda put in more frames.
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Oct 3, 2014 04:19
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I had no trouble telling its going into the computer, but making the coins a brighter color would emphasize their movement towards the screen without having to add more frames.
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Oct 4, 2014 17:29
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I finished a cartoon last night about nerds and conventions and nerds who go to conventions: https://www.youtube.com/watch?v=yqPcTopMvco It's part of a loosely connected series I've been running forever. Let me know what you guys think of it!
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Oct 6, 2014 16:26
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What happens when you just string a bunch of keyframes together without timing them out. This guy is rocking out.
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Oct 10, 2014 04:11
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I did my first-ever animation course this semester (the final semester of my degree  ) and it started out with a rotoscoping assignment. I chose to focus on my dog because he rules.  The final product is here.
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Oct 12, 2014 01:12
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Avshalom posted:I did my first-ever animation course this semester (the final semester of my degree That's pretty neat. I haven't done anything in weeks. I just can't bring myself to do stuff anymore. Or at least get anywhere off the ground with anything.
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Oct 12, 2014 02:45
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Kind of a lie though. I made this disapproving owl head a few days ago, kind of blocky and pointless.
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Oct 13, 2014 11:42
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College recruiters are gonna be rolling around my school soon and I wanna impress, critique very much appreciated. http://www.fastswf.com/Fyh1RbU
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Oct 25, 2014 17:33
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Communist Toast posted:College recruiters are gonna be rolling around my school soon and I wanna impress, critique very much appreciated. http://www.fastswf.com/Fyh1RbU Not bad, you've got a good sense of how to do an animatic. I'm a little confused as to what's going on in the part after he plugs into the giant speakers.
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Oct 26, 2014 03:16
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Communist Toast posted:College recruiters are gonna be rolling around my school soon and I wanna impress, critique very much appreciated. http://www.fastswf.com/Fyh1RbU I really like this, good job! I especially enjoy the use of the music from Crater Face as temp music(?) EDIT: Might as well ask this instead of double-posting: when animating digitally, should I try to limit the number of "layers/ drawing objects" I use or should I just go nuts with them? By that I mean, like, say instead of doing the eye and pupil movements all on one layer, have the eyes on one layer and the pupils on the other. nikochansan fucked around with this message at 09:36 on Oct 26, 2014 |
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Oct 26, 2014 09:32
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Ccs posted:Not bad, you've got a good sense of how to do an animatic. I'm a little confused as to what's going on in the part after he plugs into the giant speakers. He becomes super happy. Also, I think its good. nikochansan posted:I really like this, good job! I especially enjoy the use of the music from Crater Face as temp music(?) I think you should probably just draw them on the actual layers after you get the eyes in. Giving them their own is just going to give you more layers to manage. Of course if your okay with that, I'm sure it should give you some advantage if you do them on separate layers.
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Oct 26, 2014 12:54
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nikochansan posted:EDIT: Might as well ask this instead of double-posting: when animating digitally, should I try to limit the number of "layers/ drawing objects" I use or should I just go nuts with them? By that I mean, like, say instead of doing the eye and pupil movements all on one layer, have the eyes on one layer and the pupils on the other. But, for example suppose the eyes themselves move when the head moves-- rather than moving the head on its own layer and also moving the eyes on their own layer, draw the head and eyes on the same layer. See what I mean?
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Oct 26, 2014 14:55
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Ccs posted:Not bad, you've got a good sense of how to do an animatic. I'm a little confused as to what's going on in the part after he plugs into the giant speakers. Thanks! It's my first time doing something a long these lines. And yeah he pretty much just gets super jolly like Scarycave said, I'm just winging the plot as I go. scarycave posted:He becomes super happy. Thanks dude! nikochansan posted:I really like this, good job! I especially enjoy the use of the music from Crater Face as temp music(?) Thanks, the music is actually the permanent music, it feels so right and I loved it in Crater Face. Do you think it's too derivative?
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Oct 27, 2014 00:38
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neonnoodle posted:It really depends on how many held cels you have. If the eyes hardly move and the pupils dart around, then you're going to save yourself a lot of frustration if you keep the eyes on a held cel and do the pupils on a separate layer. Bolded because that's pretty much the exact scenario I had in mind the rest of the post helps too though! For some reason it never really clicked for me to do it that way until I read it. Might as well post this while I'm at it too: https://dl.dropboxusercontent.com/u/43568612/stevenWIPiverse3.mov It isn't the animation I had in mind when I asked that question, but either way Communist Toast posted:
Oh no not at all! It fits what you're going for
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Oct 27, 2014 05:00
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Communist Toast posted:College recruiters are gonna be rolling around my school soon and I wanna impress, critique very much appreciated. http://www.fastswf.com/Fyh1RbU This is not bad at all. If you want me to try and knock it because you are going to have judgmental eyes on your work I'd say maybe show your walk cycle (which in an animatic is 100% not necessary) because you can get a good sense of an animators style with how they make someone walk/run. And maybe hold on the final shot a moment longer so it has time to register in my brain what I just saw. If you are just being judged on your timing skills then I'll echo the rest and say that's fine work. The birds going by fast were great. A lot of people will want to hold on that because they made it and want it to have screen time! Good job on not falling into that trap. A quick eye distraction on movement and recentered on the main object. Good job.
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Oct 27, 2014 05:59
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An Ounce of Gold posted:This is not bad at all. If you want me to try and knock it because you are going to have judgmental eyes on your work I'd say maybe show your walk cycle (which in an animatic is 100% not necessary) because you can get a good sense of an animators style with how they make someone walk/run. And maybe hold on the final shot a moment longer so it has time to register in my brain what I just saw. Good idea, thanks for the advice! An Ounce of Gold posted:If you are just being judged on your timing skills then I'll echo the rest and say that's fine work. The birds going by fast were great. A lot of people will want to hold on that because they made it and want it to have screen time! Good job on not falling into that trap. A quick eye distraction on movement and recentered on the main object. Good job. Thanks a lot man! I wasn't consciously trying to do that, but I was very pleased with the result too. I like when that happens  .
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Oct 28, 2014 14:07
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Double post! This channel has three short excerpts of Richard Williams teaching which are very neat: https://www.youtube.com/watch?v=INQx-Lzs8mU
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Oct 28, 2014 21:02
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I love Richard Williams' work. But it's annoying how reading his book, you think you're learning how things move, and then it turns out his stuff is all formulas that apply to very specific cartoon animation, and don't actually mirror the way people actually move. I took an iAnimate course and the instructor was like "yeah, no one in the industry follows William's formulas anymore. Study live action reference to see how body mechanics works." The problem is it was structured for people drawing organized keyframes to hand off to assistants. But with CG animation now you can set the keyframes where-ever you want and have full control over inbetweens. The actual up and down positions in Williams' walk is all wrong. A useful simplification, but incorrect for proper body mechanics.
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Oct 30, 2014 03:07
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 Brains look like butts right?
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Oct 31, 2014 11:22
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Ccs posted:I love Richard Williams' work. But it's annoying how reading his book, you think you're learning how things move, and then it turns out his stuff is all formulas that apply to very specific cartoon animation, and don't actually mirror the way people actually move. I took an iAnimate course and the instructor was like "yeah, no one in the industry follows William's formulas anymore. Study live action reference to see how body mechanics works." I mean they are clearly very stylized motion, but they are based on life, just exaggerated. If you learn from his work, you will still learn a lot you need to know about animation and movement, especially if the have the creative will to use what you learned and apply to to something more subtle like live action movement. I would not recommend it as a sole source of learning, but it is excellent to begin in understanding animation and concepts that follow it. scarycave posted:
Look into maquetting your form, that is think of each piece as a basic shape. His arm that's not holding the straw could be thought of as 2 cylinders, one coming from the shoulder and the other attached to that one at the elbow. The forearm cylinder is coming towards the viewer a bit so throw in a line just to show to overlapping of the forearm with the upper arm, like you've done with the arm holding the straw in it beginning pose. Thinking of the body in that sense will give you the tools to look at movement in simple terms and be able to imagine it without reference. Speaking of poses, he seems to be a floating torso, consider his whole body even if its not in the frame. I think if he were hunched in a crouch position that would look creepy and suit the action All that said, well done. The face has nice light active lines and the suction loop is effective, consider that line quality in the rest of it. You've incorporated the whole body into the movement and considered the order in which each moves rather than everything starting at once. Also the easing looks good where you've included it. For your animation you may want to think about throwing in a motion between the start and finish of your actions. An example I can think of would be a head turning: You could have the head look left to right, but you can spice up the motion by adding a little something-something between him looking left and right. Instead of just the straight left to right, make his head look down while turning, blink and then back look up right. Sorry if I hit you over the head with a lot there, I understand its a short piece. I'm just giving you some stuff to consider.
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Nov 2, 2014 18:56
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Communist Toast posted:Also this is cool, the animation is pretty solid, but your drawing needs some tightening up, namely the static hand/arm. You should practice figure drawing. I'm only going off this one piece so forgive me if I'm operating on too many assumptions, but your animation seems better than your drawing. I would even the playing field so to speak with plenty of still life and figure studies. Emphasize the dimensionality of what your drawing, and how it sits in space. In the case of figure drawing, focus on the weight and balance of the figure and how it flows through the body. He will never consider any of this or grow as an artist ever, the time you spent writing this was wasted.
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Nov 2, 2014 19:45
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Not with that attitude!
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Nov 2, 2014 20:48
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Communist Toast posted:I mean they are clearly very stylized motion, but they are based on life, just exaggerated. If you learn from his work, you will still learn a lot you need to know about animation and movement, especially if the have the creative will to use what you learned and apply to to something more subtle like live action movement. Thanks. Reading what you've said, you've probably put a lot more thought into this than I ever did - which is something I really need to start doing since I really haven't been doing poo poo lately.
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Nov 2, 2014 23:43
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Time for some walk cycles            
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Nov 3, 2014 02:59
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These are wonderful and weird. What did you use to make them?
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Nov 3, 2014 15:44
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Wondering what you guys think of this. Some friends of mine have been contacted by Channel Frederator as part of their new "Animation Incubator" program. They're working with Sony to develop projects. It smells suspiciously like one of those "contests" for graphic designers where people create a lot of free pitches and the company gets to take one and reward that creator with a bit of cash, in exchange for all the designs generated for free. On the other hand, it could be a good opportunity. I don't want to go telling friends they shouldn't do it out of my own mistrust towards corporate interests. Anyone have any experience with this? This is the press release: http://deadline.com/2014/11/sony-pictures-animation-fred-seibert-cartoon-hangover-incubator-1201271591/
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Nov 3, 2014 23:14
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neonnoodle posted:These are wonderful and weird. What did you use to make them? They're actually 3-d models, I just presented them all at a isometric angle. They're part of my evolution project and more specifically my evolution 'game'. I get non-artists (mostly children) to "evolve" lifeforms through drawings, and I made a 'game' where you can walk around and see a specific point of life on the planet. This gives you some idea https://www.youtube.com/watch?v=mUHminW2f5k This should open a version of the game in your browser. https://dl.dropboxusercontent.com/u/59922961/evolution%20game.html
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Nov 4, 2014 00:42
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Ccs posted:Wondering what you guys think of this. Some friends of mine have been contacted by Channel Frederator as part of their new "Animation Incubator" program. They're working with Sony to develop projects. It smells suspiciously like one of those "contests" for graphic designers where people create a lot of free pitches and the company gets to take one and reward that creator with a bit of cash, in exchange for all the designs generated for free. Nah man. It's legit. They had money before to pay for stuff and now they have more money to pay for things. They're pretty good to work with but in the past it seems like they were only interested in developing single pilots. A few people I work withg are talking about putting stuff together for them and your friends should think about it too.
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Nov 4, 2014 00:52
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Okay cool. They also seem to be trying to get people to join their youtube page as a related thing. Seems they respect creator rights though. I guess it's a win-win scenario, since you get exposure and money and they get more content to their name to show off to possible investors.
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Nov 4, 2014 02:55
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Ccs posted:Okay cool. They also seem to be trying to get people to join their youtube page as a related thing. Seems they respect creator rights though. I guess it's a win-win scenario, since you get exposure and money and they get more content to their name to show off to possible investors. Frederator contacted me a while back to join their network or whatever, but I didn't see much of a point. From what I could understand they would just put ads on you video/s and take a cut of a money (like 60% or something) whereas, you know, you could just put ads on it yourself and take all the ad money. The 'upside' from what I could tell was you would be part of their 'network' and be 'promoted' but I didn't see any real benefit to this. I went looking through people on their pages and they didn't seem to be promoted in any real way. It just seemed like an elaborate way for Frederator to brand popular youtube animations and get more eyeballs on their own ads/youtube page or whatever. You also had to sign under them for a year at a time or something like that.
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Nov 4, 2014 06:36
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Frederator's legit, I sent in a pitch in the past and they got back to me in a timely manner with feedback as to why they rejected what I pitched. All in all it was a good learning opportunity. Also, let me say, Eric Homan is a good man, very nice to chat with and he can help you with whatever questions you have. I'm not sure if I'll do another pitch for their new shorts incubator but I look forward to what comes out of it
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Nov 4, 2014 08:59
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Sparr posted:Frederator contacted me a while back to join their network or whatever, but I didn't see much of a point... If you have a channel that already gets a lot of views then there isn't one. They are basically just giving people a views outlet that they normally wouldn't have. For someone like me that only gets 300 views per video than it might be worth it. Plus, I don't think any of us here are working on a movie which is the ultimate goal of this promotion (it's why Sony is involved). I think the point of the incubator program is going to be to actually start funding shows (they are only starting with one but will probably expand if this goes well). For example Bee and Puppycat had to do a kickstarter to raise the money for their upcoming season, but without their network B&PC might not have had enough exposure for that kickstarter to succeed. Basically if you are just starting out and independent it doesn't hurt to give them a chance. They aren't taking character rights like MTV does/did. It sounds a lot like the NBC Playground thing they just did. They are going to produce a few shorts and one will get picked for a show with hopes from Sony that you will be able to create a feature film one day. Sounds interesting. An Ounce of Gold fucked around with this message at 15:37 on Nov 4, 2014 |
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Nov 4, 2014 15:26
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