Category: animation
Nick Saraev – How AI Will Completely Dominate the Animation Industry In Less Than 5 Years
https://nicksaraev.com/ai-animation-is-coming/
“If you’re looking to get into animation as a career, you have less than five years.
Why?
- DALL-E 2 and other AI art models can now produce a near-infinite variety of illustrations using a simple text prompt. By 2025, they’ll outperform human artists on every metric.
- AI animation models already exist that can take a static illustration and “imagine” different movements, poses, and frames. You can make the Mona Lisa smile, laugh, or cry – and there’s nothing stopping you from doing that to other images, too.
- AI video models are right around the corner. Soon, studios will be able to create smooth videos of any framerate with nothing more than a text prompt. Short films will be next.
Film Production walk-through – pipeline – I want to make a … movie
https://www.behance.net/gallery/35474413/Design-Triangle-(re-make)-2016
https://www.behance.net/gallery/9112935/Wonderful-Creative-Process-Chart
Or the more realistic version
Startup tools and support sites
Making an animated movie for free
http://www.pixelsham.com/2020/12/07/an-open-source-pipeline/
Fernando Herrera – 12ish Principles of Animation
“This is how I organize the 12 principles in my head. Not being pretentious and reinventing the wheel or anything, I just use it for myself, with some different names for a few that are better adapted to CG or more concise in one word.
Organizing them in layers helps me keep track of it a lot easier. The layers I separated them into are pretty self explanatory. Appeal rules over everything and I know I have to keep the “Mindset” ones alive in my head as much as I can, and the others I can turn to at the proper moments and as a group, so instead of tackling all 12 at once and getting overwhelmed, I can look at the “Technique” and “Observation” groups separately at times for a more organized approach.
I use “Mixed Workflows” instead of “Straight Ahead and Pose to Pose”. This principle is not necessarily to use SA and PP, it’s a reminder to variate, have a planned approach, but not leaving aside the natural feel of other workflows. like Layered Animation, etc.
“Contrast” I decided to branch this into a new principle coming from Exaggeration. It’s to remind myself that to keep my shot interesting I need variation and contrast on everything, motion, poses, timing, spacing, etc.
“Slow in and out” I prefer to call it “Spacing” because it’s just one word and it’s a broader concept that includes Slow in and out. Not to mention in and out always confused the heck out of me.
“Solid Posing” instead of “Solid Drawing”, more applicable to CG.
“Inertia” instead of “Follow Through and Overlapping Action”. Inertia is the same as Follow Through and Drag combined in one word. And Overlapping Action I separated into its own principle because it has another meaning, actions overlapping and having varied timing, (even though everyone uses “Overlap” as a nickname for everything anyway, I still like to separate it).
In the end I realized they weren’t 12 anymore lol, so I call it 12ish, because 13 is bad juju.
TLDR: Organizing the principles in layers and changing some names because I’m too lazy to write big words.
Hope this is useful to someone. Cheers!
Fernando Herrera”
Your Career in Animation: How to Survive and Thrive – book by Veteran animation director and author David B. Levy
www.awn.com/animationworld/your-career-animation-how-survive-and-thrive-now-available
“The new edition of his book is filled with insight and advice from over 150 animation industry professionals, a wide-ranging tome of suggestions, reality checks, and inspiration on how to set your sights and blaze your own career trail. He shares practical tips on building a reel, portfolio, and resume; pitching and selling shows; and taking to heart and learning from on-the-job criticism.”
“Everyone seems to agree, and I certainly do, and it’s my POV in the book, that self-development is everything. You shouldn’t wait for anyone to make you anything, to give you opportunities you haven’t earned yet.”
A Valuable Lesson About Storytelling From Hayao Miyazaki
www.cartoonbrew.com/animators/hayao-miyazaki-explains-develop-idea-film-147319.html
” The Idea—the Origin of Everything
Is the starting point of an animated film the time when the project is given the go-ahead and production begins? Is it at that point that you, as the animator, first go over your ideas for that story? No, that isn’t the starting point. Everything begins much earlier, perhaps before you even think of becoming an animator. The stories and original works—even initial project planning—are only triggers.
Inspired by that trigger, what rushes forth from inside you is the world you have already drawn inside yourself, the many landscapes you have stored up, the thoughts and feelings that seek expression.
When people speak of a beautiful sunset, do they hurriedly riffle through a book of photographs of sunsets or go in search of a sunset? No, you speak about the sunset by drawing on the many sunsets stored inside you—feelings deeply etched in the folds of your consciousness of the sunset you saw while carried on your mother’s back so long ago that the memory is nearly a dream; or the sunset-washed landscape you saw when, for the first time in your life, you were enchanted by the scene around you; or the sunsets you witnessed that were wrapped in loneliness, anguish, or warmth.
You who want to become animators already have a lot of material for the stories you want to tell, the feelings you want to express, and the imaginary worlds you want to bring alive. At times these may be borrowed from a dream someone related, a fantasy, or an embarrassingly self-involved interior life. But everyone moves forward from this stage. In order for it not to remain merely egotistical, when you tell others about your dream you must turn it into a world unto itself. As you go through the process of sharpening your powers of imagination and technique, the material takes shape. If that shape is amorphous, you can start with a vague yearning. It all begins with having something that you want to express.
Say a project has been decided on and you have been inspired by something. A certain sentiment, a slight sliver of emotion – whatever it is, it must be something you feel drawn to and that you want to depict. It cannot solely be something that others might find amusing, it must be something that you yourself would like to see. It is fine if, at times, the original starting point of a full-length feature film is the image of a girl tilting her head to the side.
From within the confusion of your mind, you start to capture the hazy figure of what you want to express. And then you start to draw. It doesn’t matter if the story isn’t yet complete. The story will follow. Later still the characters take shape. You draw a picture that establishes the underlying tone for a specific world. Of course, what you have drawn will not be your final product. At times, your work may be rejected entirely. When I mentioned earlier that you must have the will to go to any length, this is what I meant. When you draw that first picture, it is only the beginning of an immense journey. This is the start of the preparation stage of the film.
What kind of world, serious or comedic; what degree of distortion; what setting; what climate; what content; what period; whether there is one sun or three; what kinds of characters will appear; what is the main theme…? The answers to all of these questions gradually become clearer as you continue to draw. Don’t just follow a ready-made story. Rather, consider a possible development in the story, or whether a particular kind of character can be added. Make the tree trunk thicker, spread its branches further – or go to the tips of the small branches (this could be the starting point of the idea), and on to the leaves beyond as the branches grow and grow.
Draw many pictures, as many as you can. Eventually a world is created. To create one world means to discard other inconsistent or clashing worlds. If something is very important to you, you can keep it carefully stored in your heart for use at another time. Those who have experienced an outpouring of an amazing number of pictures from inside themselves can feel it. They feel that the fragment of a picture they envisioned, the other trunk of a story that was thrown out while piecing together a narrative, the memory of pining for a girl, the knowledge about a subject gained as they delved deeply into a hobby – all of these play a role and become entwined into one thick strand. The scattered material within you has found its direction and started to flow.
Filmatick – THE ESSENTIAL SOFTWARE FOR PRE-VISUALIZATION OF FILM AND MEDIA
Script Mapping, Scene-by-Scene Breakdown, Set & Character Development, Animation, Lighting, Music, offline editing and Sound Effects.
