Link: A close look at BAD ACTING and GOOD ACTING

A short post from me, it’s been crazy busy at work, and I rarely get much coherency for my own work these days. Anyways!

A very well put-together post by Daniel Gonzales, on the subject of acting in film, which has a huge amount of reference & study material for animators.
A close look at BAD ACTING and GOOD ACTING

Tons of video examples of each of the points, along with the theory on why it works so well (or why it goes so badly) – even if you’re not an animator yourself, anyone that appreciates film would enjoy this blog post.

Speaking of animation, I am very very slowly working my way towards my next animation project – I want to focus on character acting with dialogue to better sharpen my skillset. I’ll document more of my process, as per request by some of you out there, and keep y’all posted.

Learning from Film: The Art of Editing in The Good, The Bad, and the Ugly

Came across this a while back, and I finally got around to making a proper post to share this excellent breakdown of the composition, editing and cohesive storytelling that is present in one of my favorite influential films – Sergio Leone’s The Good, The Bad, and the Ugly

That score from the composer Ennio Morricone, “The Ecstasy of Gold” (Italian: L’Estasi dell’Oro), during the frantic search of the cemetery… Absolutely haunting.

The Art of Editing in The Good, the Bad, and the Ugly from Max Tohline on Vimeo.

A bit of fan art for my favorite kind of alien – the XENOMORPH

Big hefty Photoshop painting – I wanted to push myself while still having a lot of fun with the subject matter. Yes, messy and gory! Other than a really rough pencil thumbnail in my sketchbook, of which I snapped a photo of on my phone and blew it up in Photoshop, this was entirely digitally painted. All those knobbly bone protrusions, so shiny and reflective… That took a while.

I’m quite proud of this!

Huge thanks to one of my artistic inspirations, the late H.R. Giger, and copyright belongs with Fox/Fox Interactive.

 

Click through to see at full res!

Link: A huge searchable database of reference videos for animation!

Just a quick post today, but I wanted to share this one with you all:

ReferenceReference.com

It’s an excellent searchable (by tag or category) database of videos with actors performing various actions, often with multiple camera angles. When one is creating animation, it is invaluable to film yourself performing the action for the shot, as it grounds you in what is possible & natural. When you have a solid base like that, it becomes much more legitimate when you push & exaggerate the motion, as opposed to just free-forming it without any prior planning & research.

But often the shot/sequence calls for a movement that isn’t possible (we animators may be a crazy bunch, but we’re not all stunt performers!) for you to film yourself doing. Or you might be constrained for time or shyness! I have gotten used to the looks of incredulity when I’m demonstrating some in-game animation! Well ReferenceReference.com comes in as a great alternative.

I still recommend finding some empty meeting room, back alley, closet, roof top, forgotten hallway, and doing the performance yourself, as the memory of how it felt definitely adds to your decision-making for your work.

Link: 5 Myths about Concept Art

Another great information-dump, this time about the process behind concept art for video games, animation, movies, you name it. To be precise, what the job actually entails, and to dispel the misconceptions/myths surrounding this somewhat over-glamorized field.

“The 5 bullshit myths of concept art” by Suzanne Helmigh

So many aspiring students and hopefuls have come up to me and my peers, asking how to break into the video game industry as a concept artist. The shining hope in their eyes makes breaking the truth all the more harder, as only the truly demented would enjoy dropping the heavy dose of reality onto them. Let me be clear: It is totally great to have a goal to become a concept artist for your dream studio… BUT, and this is a big “but” here, this is a very competitive position with few openings. A typical medium-sized company will make use of a few concept artists, and that will meet the needs of a number of on-going projects. There will be proportionally far more art positions as an environment artist, character artist, props, VFX, UI, and so on. Being a concept artist does not mean you can sit there and come up with your own ideas all day long. 99% of the time, the project is tasking you to lay down the look & design of specific things. As you’ll see in the link above, “things” can be as ‘dull’ as different varieties of door knobs. Someone has to define what the 3D artists are going to create! Every single thing you see in an animated movie or video game has had some design and thought put into it. Including all those “boring” mundane objects cluttering the corners of the environments.

Also, breaking into the industry and starting as a concept artist right out of school is practically mythical. I’ve known a couple truly stellar artists that were already amazing artists before they entered art school that were able to secure positions as concept artists. For every other concept artist I’ve known, they all started from other areas of the industry. Modellers, VFX and UI, animators even, they all kept cranking on that art and seized any opportunity that arose to prove they can be successful as a concept artist.

This comes across as trying to discourage aspiring artists, and I’m sorry for that – what I am trying to say is that it is a very difficult thing to achieve, and you have to be prepared to be rejected often, and never ever stop creating art. Never stop looking at other art, reference, photos, seeing art shows & museums, never stop exposing yourself to new ideas and new material.

You can make it! Be prepared to work your butt off for it, and do not turn your nose up at working in a more broader field like 3D modelling! The skills you develop in different fields will give you greater legitimacy to your concept art!

Link: Flooby Nooby’s The Cinematography of Pixar’s The Incredibles

Pixar’s The Incredibles is one of my favorite animated movies, and this post is an extremely straight-forward and valuable breakdown of the cinematography involved. From live-action to animated to comics, the composition of each image (be it moving or static) is essential to know for every visual medium.
Yes, rules are made to be broken, but you can’t break a rule effectively if you have no idea what the rules are in the first place. Also, breaking a rule is only effective if it actually has an impact, which best arises as contrast to the other UNBROKEN rules. If all the rules are broken, then it’s just a directionless mess.

Flooby Nooby’s “The Cinematography of Pixar’s The Incredibles

(Click the image below)
Color script to The Incredibles

Link: The 25 Fastest Ways to Fail at Animation

For both my benefit, and yours, I must share this excellent post about the animation process.

Thumbnails of Animation

The 25 Fastest Ways to Fail at Animation
Article by J.K. Riki.

Many of the points touch on how the animation process cannot be forced into greatness; you have to follow discrete steps, including PLANNING, before you can truly tackle the task before you. Overcomplicating your shot with fancy tricks/techniques is a sure-fire way to lose sight of what you’re aiming to achieve with your animation. It’s ludicrous how often K.I.S.S. shows up in the creative fields, but it always bears repeating, as it’s still ridiculously easy to lose sight of it: Keep It Simple, Stupid.

Storyboarding even the most ‘basic’ of shots is always worthwhile. Who cares if the ‘storyboard’ only takes 20 minutes to create – it becomes the foundation of what you plan to do with the given shot. Don’t worry if your storyboards are barely more than stick figures in 1-inch doodle boxes. You’ll be ahead of most of the competition already.

Happy Animating!