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Week 1: Breifing and career talk
Week 1: Breifing and career talk
This week was focused on introducing us to our new modules and encouraging us to consider animation festivals, talks, and exhibitions we could attend.
We were told we will be producing Research, Presentation, and a Showreel for our chosen specialism.
I start the week doing some extra personal research into different specialisms and job oppotunities.
As well as mention some steps I am taking to improve my personal projects.
We had a presentation today from Olena Martynyuk, a Work-Based Learning Officer. She provided valuable tips on how to conduct and record professional research, as well as how to sift through online articles to find reliable sources. She also gave us the task of reflecting on our ideal role or job within animation.
Some reliable sources include: BBC
Some unrealiable sources include: Instagram, TikTok
My initial thoughts for a specialism included modeling, pre-visualization, tech-visualization, or simulation. I was still a bit unsure as to what i should choose as we havent done the rigging yet or much rendering and im currently split between a few, hopefully the following months of personal and class projects will help solidify my desired specialism further.
We were informed that we’ll be invited to tour Industrial Light & Magic (ILM) later in the term.
I was thrilled at the prospect, as I admire ILM for their pioneering advancements in VFX, such as IMoCap in 2006, the first CG photorealistic hair and fur in Jumanji (1995), and the first morphing sequence in Willow (1988). I’ve also been a huge fan of the Transformers live-action CGI films, which showcased stunning, high-quality realistic visual effects that I find inspiring.
befores & afters. (2019). ‘Computer pajamas’: the history of ILM’s IMocap - befores & afters. [online] Available at: https://beforesandafters.com/2019/09/10/computer-pajamas-the-history-of-ilms-imocap/.
Cgw.com. (2018). Jumaji Replay | Computer Graphics World. [online] Available at: https://www.cgw.com/Press-Center/In-Focus/2018/Jumaji-Replay.aspx [Accessed 30 Sep. 2024].
admin (2018). Over 30 Years, WILLOW Has Morphed into an Effects Classic - VFX Voice Magazine. [online] VFX Voice Magazine. Available at: https://www.vfxvoice.com/over-30-years-willow-has-morphed-into-an-effects-classic/ [Accessed 30 Sep. 2024].
Research areas for industry trends/news:
Understanding my role in the animation industry is crucial for future success. I’ve decided to explore various subsections within the field, including roles such as riggers, modelers, pre-visualization artists, and animators. Initially, I’ve been drawn towards modeling and simulation, as these areas satisfy both my creative and technical interests. To solidify my position in the industry, with a focus on modeling and simulation, I need to consider and research the following to refine my direction and build a competitive portfolio:
Industry Specializations:
I’ll start by researching different 3D modeling roles (like character modeling, environment modeling, hard surface modeling) and simulation roles (such as fluid, smoke, and destruction simulations) across industries like film, games, VFX, and product design. It’s important to understand what each industry values most in these areas, and if new knowledge is needed.
Industry Specializations in 3D Modeling and Simulation:
In the 3D industry, modeling and simulation are highly specialized areas with distinct applications across film, games, VFX, and product design. I will futhur explore the roles and requirements of each to determine where my skills and interests align.
Film & VFX:
In film and VFX, character modeling and environment modeling are critical roles. Artists focus on creating highly detailed, realistic characters and sets. Often, sculpting in tools like ZBrush is required for organic modeling, while Maya or Blender is used for environments.
For simulation, roles in fluid dynamics, fire, and destruction are in demand. Studios often look for artists skilled in Houdini for large-scale, complex simulations that integrate with live-action footage. I should furthur research studios like Industrial Light & Magic and Weta Digital to understand their workflows.
Game Development:
In game development, low-poly modeling and optimization are key, as assets must run efficiently in real-time engines like Unity or Unreal Engine. Environment modeling and props modeling are prominent, and the emphasis is often on texturing and UV mapping.
Simulations in games focus on real-time physics like cloth, destruction, and water. Here, tools like Unreal’s Niagara system are valuable. Investigating companies like CD Projekt (creators of Cyberpunk 77 and The Witcher) to see how they approach real-time simulations, led to to realise they often rely on NVIDIA PhysX, real-time simulations, procedural generations, and AI-driven NPCs. Understanding why these are beneficial to game companies will help me to create more efficient scenes.
NVIDIA. (n.d.). Cyberpunk 2077 Ray Tracing: Overdrive Mode - CD PROJEKT RED, RTX Inside The Game Interview. [online] Available at: https://www.nvidia.com/en-us/geforce/news/cyberpunk-2077-ray-tracing-overdrive-mode-interview/.
Bussell, C. (2024). CD Projekt wants to use AI in development ‘but not replace people’. [online] TechRadar. Available at: https://www.techradar.com/gaming/cd-projekt-wants-to-use-ai-in-development-but-not-replace-people [Accessed 6 Oct. 2024].
Product Design & Advertising:
Product design requires precise hard-surface modeling for creating objects like vehicles, furniture, or consumer products. The focus is on creating accurate, photorealistic models used for marketing or virtual prototyping.
Simulations here are more practical, such as rigid body simulations for product interaction or fluid simulations for things like pouring liquids in commercials. Tools like Cinema 4D and RealFlow are commonly used.
Animation Studios:
Animation studios often need stylized character and environment modeling. Unlike photorealistic work, this may involve creating exaggerated, appealing forms for animated features. The modeling process emphasizes efficient topology for rigging and animation.
For simulations, they might focus on cartoon-style effects like stretchy fluids, dynamic hair and fur, or more abstract magical physics simulations. I could explore studios like Ritzy Animation, Blue Zoo, Pixar and DreamWorks to see their approaches.
By comparing these industry specializations, I can identify that currently I’m most interested in VFX for film, or game cinematics, where I can combine detailed environment modeling with complex simulations like destruction and fluid dynamics. I'll focus my portfolio on showcasing work in these areas to align with the demands of the industry.
Software Proficiency:
Since I enjoy modeling and simulation, I’ll focus on practicing industry-standard software like Maya, (for simulations/moddeling), and ZBrush (for character modeling/sculpting). I’ll also explore specialized simulation plugins like Chaos Phoenix or X-Particles for simulations.
Software Proficiency for Modeling and Simulation:
I’ve had the opportunity to work with a range of simulation tools within the Maya pipeline, including Chaos Phoenix, MASH, and nParticles. Last semester, I experimented with MASH and nParticles to create particle-based simulations and procedural effects for my PLP project, which gave me a solid foundation in understanding how simulations can be manipulated for creative results. More recently, I’ve become familiar with Chaos Phoenix, specifically for smoke simulation, and I now feel fairly confident in controlling the parameters to achieve realistic smoke and fluid effects.
Since our course focuses primarily on Maya, I’ve been using Maya’s built-in features like Bifrost, nParticles, and MASH or plugins from CHAOS for my simulations. While these tools are versatile, I find myself particularly interested in the procedural and dynamic control offered by other software like Houdini, which I would likely pursue if our course weren’t so rooted in Maya. Houdini’s capabilities for large-scale, highly detailed simulations like fluid, destruction, and particle effects seem like a natural fit for the kind of simulation work I enjoy. However, for now, I’m focusing on mastering the tools within Maya and exploring how far I can push simulations using its features.
I’ve also started exploring Vue by E-on Software, which has proven to be a powerful tool for creating breathtaking natural environments and realistic landscapes, al within Maya using VUE bridge plugin, similar to Unreal Engine Live Link plugin. I recently learned more about Vue's capabilities while staying engaged with the animation community, specifically through animation news channels on YouTube. I came across a segment about Vue's recent release to the public, which highlighted how it has been used extensively in the film industry, including in movies like Avatar or Pirates Of the Carrabean, to generate the stunning scenery and lush, detailed foliage that the film is known for. Discovering this connection to a high-profile projects like these made me realize the potential of Vue in professional scene creation.
Animation World Network. (2024). Vue Helps ILM Create Environments for Dead Man’s Chest. [online] Available at: https://www.awn.com/news/vue-helps-ilm-create-environments-dead-mans-chest [Accessed 4 Dec. 2024].
askNK (2024). The Worlds Best 3D Environment Tool Is Now Free Forever! [online] YouTube. Available at: https://www.youtube.com/watch?v=WCCBRW2iU7M [Accessed 8 Oct. 2024].
Integrating Vue into my workflow offers a unique opportunity to understand how industry professionals developed complex, large-scale natural environments that elevate the realism of their scenes. This software aligns perfectly with my goal of mastering landscape and environment creation, giving me the chance to experiment with the same tools that have shaped some of the most visually compelling films. As part of my course's emphasis on staying current with animation trends and tools, learning Vue feels like a sensible progression to ensure I’m aligned with industry standards and equipped to handle the demands of professional scene creation.
In terms of modeling, I’m planning learn ZBrush by the end of 3rd year, I was told it was one of the softwares we may be learning on this course, which I’m excited about since I know it’s essential for detailed, organic character sculpting. My modeling work so far has mostly been within Maya - and hard-surface, but I’m eager to bring ZBrush into my workflow, especially for characters and high-detail models. As I continue to develop my skills in both modeling and simulation, I plan to integrate the organic, sculpted models I create in ZBrush with dynamic simulations in Maya to create more cohesive and realistic scenes.
Moving forward, I would like to become proficient in ZBrush for character and environment modeling while continuing to enhance my simulation skills in Maya. Eventually, transitioning into software like Houdini for advanced simulations could open more opportunities for complex VFX work, and Unreal Engine for games, but for now, I’m committed to pushing my skills with Maya’s toolset.
Portfolio Focus:
Aside from my course assignments, I need to build a portfolio that highlights my strengths in both modeling and simulation. I’ll aim to show diversity in my models (both organic and hard surface) and incorporate simulations like fluid, fire, cloth, or destruction in various scenarios. Everything will be aimed to be polished with attention to topology, texturing, and animation-ready models. I’ll also try to include process work like wireframes, before-and-after breakdowns of simulations, and likely turntable views of my models.
Portfolio Focus:
While I’ve already demonstrated strong skills in areas like animation, scene construction, lighting, and compositing, I recognize that these are foundational skills expected in the animation field. What sets a portfolio apart, especially in a competitive industry, is the ability to showcase specialization and mastery beyond the basics.
In terms of modeling, I’ve gone beyond the required coursework by dedicating extra time to detailed hard surface modeling. This additional work has sharpened my focus on precision and clean topology, essential for high-quality, production-ready assets. To round out my skills, I’m also working to improve my organic modeling to handle more diverse characters and environments, aiming to create a well-balanced portfolio.
For simulation, I’ve explored smoke simulations with the Chaos Suite using Phoenix and rendering using V-RAY, and know that mastery comes with repetition. Although my course emphasizes character animation, I’ve also actively incorporated simulations like fire, smoke, and fluid dynamics into my projects. I’m committed to refining these skills further to elevate the complexity and impact of my work.
Chaos.com. (2018). VFX Rendering for Film With V-Ray - Chaos. [online] Available at: https://www.chaos.com/film-vfx [Accessed 2 Dec. 2024].
Below is an article about a short film that was created using CHAOS products such as Pheonix and V-RAY. I was heavily impressed by the Simulations created in this short film. The high quality and fidelity in the realistic smoke and cloud simulations blew me away and are somthing i can only strive to achieve.
Winchester, H. (2023). How V-Ray, Phoenix, and Chaos Cloud helped ‘Starship’ shoot for Mars. [online] Chaos.com. Available at: https://www.chaos.com/blog/how-v-ray-phoenix-and-chaos-cloud-helped-starship-shoot-for-mars?srsltid=AfmBOoq92nADDPnZ0PF8kQSPD0ftgTDKKx0RKs_KSGUw_ibGJFNEU7vE [Accessed 3 Dec. 2024].
I have recently found a Job application from LUNAR Animation, that actually specifies its reliance on CHAOS products. which brings more confidence that my actively refining skillset is getting more refined and polished, getting more experience towards a role I desire.
LUNAR ANIMATION | CG Animation & Visual FX Services. (n.d.). Previs/Layout Artist. [online] Available at: https://www.lunaranimation.com/careers-animator.
Winchester, H. (2018). Shooting for the Moon: How Lunar Animation Built a VFX Pipeline for the Future. [online] Chaos.com. Available at: https://www.chaos.com/blog/shooting-for-the-moon-how-lunar-animation-built-a-vfx-pipeline-for-the-future?srsltid=AfmBOoqLK10fYnps_8Vl_C_DKHc7UiV5q4b6ZsrrVxOiz7OTADIlFrdS [Accessed 3 Dec. 2024].
Chaos V-Ray is also an Academy Award-winning VFX rendering software for film, and Pheonix is a similarly powerful simulation software. Both of these softwares are leagues ahead of Maya's in built rendering and simulations tools such as Arnold or nParticles. offering way more customisability from within the Maya interface. Using plugins and bridges allows me to stay navigating within the Maya software while creating my projects and utilising a much more powerful toolset. this can help me and give me a much more efficient method of creating simulations, without needing to learn whole new packages such as Houdini.
Ultimately, my portfolio will aim to currently focus on the intersection of detailed modeling and advanced simulations. I’ll continue showcasing high-quality hard surface work, while expanding into organic modeling and refining my simulation abilities. This balance will not only show my technical proficiency but also demonstrate my range and adaptability in creating dynamic, engaging 3D scenes. Here shown on the right is a scene I made using Maya, CHAOS, and VUE.
Trends & Technologies:
I’ll stay updated on trends like real-time rendering, physics-based simulations, and procedural modeling (potentially using tools like Houdini). Understanding how simulation pipelines integrate into larger projects (such as games or films) will be important. I also plan to look into how AI, machine learning, and real-time simulations (like Unreal Engine’s capabilities) are shaping the industry.
Recently, I came across an article on Animation Magazine about the new Deadpool and Wolverine film, where Weta’s VFX supervisor Daniel Macarin discussed the use of AI and machine learning in the visual effects process. Specifically, machine learning was used to assist with the initial dialogue lip-sync for the mask animations, helping to make the mask's movements more natural and synced with the character’s speech. I saw this movie in cinemas with a few friends from my animation course, and I remember being particularly drawn to the subtleties of the mask’s expressions during the dialogue scenes. Learning that machine learning played a role in this process shed light on how AI is streamlining complex tasks like lip-syncing, which is something I’m eager to explore further in my own work.
Animationmagazine.net. (2024). You are being redirected... [online] Available at: https://www.animationmagazine.net/2024/09/weta-vfx-supervisor-daniel-macarin-unmasks-the-visuals-of-deadpool-wolverine/ [Accessed 30 Sep. 2024].
The downsides of advancing technology, particularly in the animation industry, are also becoming more apparent. While understanding the potential of these tools is essential, they also raise concerns about job security. Despite many companies denying that AI will replace artists, there are indications of shifting job roles. For example, Lionsgate recently announced a partnership with AI company Runway, openly expressing their goal of using AI to replace workers such as storyboard artists and concept designers. This development, highlighted in a Cartoon Brew article, has sparked significant debate within the industry.
Many forum posts reflect the community's concerns, as the potential for job losses in roles like storyboarders is troubling. However, this shift may create new opportunities, such as roles focused on AI supervision, cleanup tasks, or managing the AI-driven creative processes. While this transition may offer some new job prospects, I still believe it could lead to a substantial loss of traditional roles in the short term, and many artists may struggle to adapt before finding a secure position.
Given the ongoing technological advancements, it’s unlikely that this trend will slow down. Therefore, it’s crucial for animators to stay informed about AI’s role and its practical applications. Understanding these tools could help improve efficiency, speed up concept development, and optimize workflows, even if human oversight remains necessary for now.
Amid Amidi (2024). Lionsgate Signs Deal With AI Company Runway, Hopes That AI Can Eliminate Storyboard Artists and VFX Crews. [online] Cartoon Brew. Available at: https://www.cartoonbrew.com/artist-rights/lionsgate-signs-deal-with-ai-company-runway-hopes-that-ai-can-eliminate-storyboard-artists-and-vfx-crews-243035.html [Accessed 2 Oct. 2024].
Networking & Community:
To stay connected, I’ll join online forums, linkedin, social media groups, and possibly participate in challenges (like those on ArtStation or 80 Level). This will help me see where the industry is going and what employers or clients are looking for.
I recently signed up to Artstation as i found it to be a valid source of CG and industry news and trends. upon signing up, i made sure to check receive newletter and industry job opening notifications, to get a better sense of the current industry and its movements.
I also stay connected to community trends and technological advancements by following Corridor Crew, a popular YouTube channel well-known for their unique VFX breakdowns and discussions about industry trends. They regularly feature interviews with professionals from studios like ILM, including notable figures such as Adam Savage (former miniature modeler for ILM), Todd Vaziri (VFX artist/compositing supervisor), and Alex Laurant (VFX art director). Corridor Crew's content dives into how new technologies are pushing the limits of CG and VFX, offering insights into how industry leaders are innovating in areas like simulations and real-time rendering. Their discussions help me stay informed about current industry developments and creative workflows.
Here are a couple more YouTube channels in the animation field which cover new technological advancements and practical tools in CG and VFX:
YouTube. (n.d.). askNK. [online] Available at: https://www.youtube.com/channel/UCHx1jeKRMi_wDAwvvhaIDYA [Accessed 1 Oct. 2024].
YouTube. (n.d.). InspirationTuts. [online] Available at: https://www.youtube.com/channel/UCDdv3C21EFv7MxBMu70OExw [Accessed 1 Oct. 2024].
Job Market Research:
I’ll study job descriptions and requirements for modeling and simulation artists in studios, production companies, and game development firms. By looking at the skills they emphasize, software they require, and the types of portfolios they expect, I can better tailor my own skillset.
Having basic knowledge about what the payrate is for the different specialist job roles would also help to decide which role suits me better.
Previs Artists:
Previs artists create rough 3D animations to plan out sequences, working closely with directors to block scenes and camera angles. Their salary typically ranges from $56,000 to $111,000 annually, with higher pay in larger studios and for those with more experience(CG Spectrum)
VFX Simulation Artists:
Specializing in dynamic effects like fire, water, and explosions, VFX simulation artists earn between $70,800 to $101,200 annually depending on skill level and the complexity of the projects(ActionVFX)(Velvet Jobs).
3D Modelers:
3D modelers, who work on both hard surface and organic assets, usually earn between $66,600 and $87,745 annually(Velvet Jobs)(Salary.com).
Animators:
Animators typically make between $65,000 and $90,000, with top-tier talent in major studios earning higher(Velvet Jobs).
Rigging Artists:
Rigging, a specialized skill focused on creating animation-ready character skeletons, offers salaries around $60,000 to $80,000 annually(Velvet Jobs)(Salary.com).
Compositors:
Responsible for integrating live-action footage with CGI elements, compositors generally earn between $50,000 to $90,000 annually(ActionVFX)(Velvet Jobs).
VFX Supervisors:
With leadership responsibilities, VFX supervisors command salaries starting at $80,000 and can go up to $150,000+(ActionVFX).
I've assessed the average salaries across various roles within the film and VFX industry. While most positions offer competitive pay, I've noticed that modelers and riggers typically earn slightly less, though still a reasonable amount. This isn't currently a concern for me, but I may consider moving toward higher-paying roles as I progress in my career.
The best place to find Animation jobs that ive found so far is LinkedIn. Its often hard to find the salary of jobs upfront in industry, but here it often states the pay rate.
LinkedIn (2024). LinkedIn. [online] Linkedin.com. Available at: https://www.linkedin.com/.
Spectrum, C.G. (n.d.). Previs Animator Job Description, Salary, Skills & Software. [online] www.cgspectrum.com. Available at: https://www.cgspectrum.com/career-pathways/pre-vis-animator.
Actionvfx.com. (2023). Available at: https://www.actionvfx.com/blog/vfx-careers-a-complete-guide-to-vfx-salaries-and-getting-started.
VelvetJobs (2024). VFX Artist. [online] Velvetjobs.com. Available at: https://www.velvetjobs.com/salaries/vfx-artist-salary [Accessed 30 Sep. 2024].
by : (2024). 3D & VFX Artist. [online] Salary.com. Available at: https://www.salary.com/research/salary/offering/3d-vfx-artist-salary [Accessed 30 Sep. 2024].
Week 2
Week 2
Talk 1
This week, we had a speaker from the CareerLabs team at Ravensbourne, who shared simple but effective insights on work ethics and professionalism. They introduced us to methods like the Pomodoro Technique and the Eisenhower Matrix (also known as the Urgent-Important Matrix)
Pomodoro Technique: Work in focused 25-minute intervals, followed by a 5-minute break to boost productivity.
Eisenhower Matrix: Prioritize tasks based on urgency and importance to manage workload effectively.
I realized that I’ve been subconsciously applying these methods for a long time, as I was always told by my family to take breaks every half hour and to stay active. It’s reassuring to know that this not only benefits my health but also improves productivity. I’ve noticed that when I step away from a task that’s been frustrating me, I often return with clearer focus and a better approach. Understanding what’s truly urgent can sometimes be influenced by personal preference and emotional state, but I always strive to stay focused and tackle the most pressing issues first.
We were also asked to consider how characters in film are portrayed as smart, busy, lazy, or unorganized—like Sheldon from The Big Bang Theory—and how we might categorize ourselves similarly. While I wouldn’t entirely agree with this, as it can lead to stereotyping, the point is to make us reflect on whether we fall into these categories and if we’re being labeled unfairly. It could be more correlation than causation, but in the context of film and animation, these stereotypes are often used to build characters. This makes sense in our field, as people tend to perceive the world through these familiar archetypes.
Talk 2
This week we had another speaker but this time, i was happy to find out it was a director named Paul Arion, the CEO and Founder of control chaos, which is a premier VFX company delivering cutting-edge solutions in Previs, Postvis, Techvis, Layout, Composition, Directing, and Scriptwriting.
he is well known for his VFX supervision in Prometheus and 300, dune part 1, avengers end game, blade runner 49 and many more. he worked with MPC a famous vfx company.
he gave us in depth knowledge about the workflows and pipeline within the vfx and film industry. pulling from key points he made such as "teamwork" and "having structure" in your pipeline and how to become a great creator you really need to be "obsessed" with your work.
After speaking with him after the lecture he gave me confidence that my my current attitude will benefit me in the industry as i am constantly seeking for improvement and am working on projects throughout my spare time and have dedication for this craft.
On the way out from the lecture i caught Paul on the way down in the lift and managed to ask a few more questions. Paul also gave me insight into what direction i should take as if to continue my passion for simulation, indicating that houdini has "no competition" with any other software in terms of its simulations. And even as a node based workflow it is superior in many other reguards.
He later goes on to offer me his card and sais that i can contact him for extra knowledge and resources for Houdini.
Already, within the first two weeks, i have already managed to strengthen industry information and gain access for furthur resources
INSERT SELFIE WITH PAUL HERE
My Site. (2024). Home | My Site. [online] Available at: https://www.control-chaos.com/ [Accessed 6 Oct. 2024].
Talk 3
For the second time this week we had a talk, this time from a even more related position in the industry. an animator who now works with Ritzy Animations and was previously a member of our Uni, Ravensbourne, Vytautas Puišys
This helped us to understand a more realistic and realtable position as we were also shown how he managed to secure his place of jobs beyond this course, understanding that a very professional and impressive portfolio website that was crafted on his 3rd year resulted in a solid foundation for being taken upon to join Ritzy studios.
I also managed to get extra information from this Industry worker also; Sasha, in our class, asked him to come and look at a project i had been working on.
I had been at a slight devide in my mind as to which specific specialist role i would like to take in the animation field.
I felt that to really understand which segment would appeal to me, as many areas do within vfx and CGI, i would would need to do more than just one project per module to practice in these areas, as with some crafts they might require just one attempt to master and get the hang of it... but others take much longer before you really get the feel of the landscape of the craft.
This is why every single day i am working constant extra hours to practice one of these separate areas, such as; rigging, lighting, animating, simulating, modelling, etc.
Both of these industry professionals agreed that it takes many attempts to understand a craft.
After showing Vytautas Puišys my current project he straight away assumed i was aiming for concept art as i assume for the layout and detail of the single frame, but after explaining that it was more of a generalist project as it contained many specialisms to a fairly high degree, he asked me what i really wanted to do in these areas. as when aiming for realism in film there is often bigger studios and may require me to just master one area and not create a whole realistic scene with its movements. and although Vytautas Puišys also stated he was into "realistic animation" on his portfolio "about" page the only slightly realistic projects he demonstrated was seemingly unreal engine, and now compared with our course software maya that i was using, with unreal engine, creation of a whole 3d scene is much more feasable for an individual. he Also states that he wants to use unreal engine and would enjoy doing game cinematics, which i am also fond of. one of his original peices on his showreel was an animation in Unreal Ungine.
reflecting on this information from industry professionals i will keep my options open for learning other softwares such as Unreal Engine for efficient realism and game cinemtics or Houdini for even more control in vfx. Exploring these fields may help me gain a better understanding of my interests within the animation field.
RITZY ANIMATION (2024). RITZY ANIMATION. [online] RITZY ANIMATION. Available at: https://www.ritzyanimation.com/ [Accessed 6 Oct. 2024].
week 3
Today, we were instructed to explore alternative sectors outside entertainment where our skills could be applied beyond our primary focus on film animation. The first sectors that came to mind were music visuals, architecture, advertising, and fashion.
I recognize that staying updated on industry news is crucial for understanding which opportunities are most advantageous. For example, our first industry speaker noted that while roles like match moving and rotoscoping were once entry points into VFX, many jobs have now shifted to regions with cheaper labor, leading to a saturated job market here with fewer opportunities. Being aware of these industry trends and keeping updated will help me maintain a clear direction and understand the caveats within each specialty.
Additionally, I see how our hard surface modeling skills can transfer to programs like SketchUp, Revit, or Fusion 360 in the architecture sector. The animation and scene composition skills we’ve learned in this course can also be beneficial in product animation, as product renders created in programs like Cinema4D relate closely to other 3D rendering applications in the animation industry.
Moreover, our animation skills can be utilized in healthcare advertising or educational content, such as visual simulations of dental procedures or biological pathways. Lastly, tools like Marvelous Designer for clothing and cloth simulation present further opportunities to apply our skills creatively.
Music Visuals was considered as Entertainment so i added this point to our next task, which included all the oppotunities within the Entertainment industry:
The ones that I added on this task were; The Mill (a well-known company in the music visuals industry.) having already experimented with music production and music production visuals last semester this one was an obvious idea that seems quite interesting and fun, it often entails quite abstract visual creations.
For previsualization sector, I was already aware of Firebug Films, which I learned about from Mark Brown, a representative from the company who gave a talk I attended last academic year. His presentation focused on previsualization and his industry experiences, highlighting the ongoing demand for these roles in the field. This was a great one to add.
Entertainment Industry Sectors
An example of what https://feedmelight.com/ requires when applying for Animation Producer:
Understanding that many quality animation oppotunities currently require previous industry/relevant experience, an insentive would be to aim at smaller companies/roles and work my way up.
IN MOTION EVENT. 11/10/2024
Keeping in line with this PLP module i decided to attend this IN MOTION event to gather more industry and first hand knowledge from professinals working in industry. I and a few classmates managed to see a talk by James Baxter, responsible for many of the animations within many old disney classics, such as the lion king, the hunchback of nortredam and klaus.
Althought i am largely into 3D his starting talk about how to draw 2D people really hit home in areas of animation principles that still heavily apply to 3 dimentions. he spoke about how it may seem daunting at first to imagine the "12 principles" but in his mind he really dwells it down to 2 thoughts for him, how the thing looks (clarity & communication, present the ideas to audience exaggeration, presentation) and how the thing moves (inertia and why things slow in/out etc) which helps him to break it down and efficiently progress his work.
James Baxter also gave insightful tips on planning and knowing when to help your next animation in a sequence by preemptively positioning the characters weight on the right leg so when he goes into the next direction hes walking so Because when you walk It's actually a timed Sequence of falling and catching yourself. And if you know your character is going to be walking next then making sure his weight when he standing Ends up being on the right leg so that he can take off in the right direction easier Is helpful. Let's say he's going to take off on his right direction. He should be standing With his weight Mostly on his right leg So that he just needs to lift off his right leg- off the ground And then his weight will carry him in the right side direction.
He also gave us insights to an old animation that he did that he's been getting a lot of comments on online from. He explained to us why people thought this was a very smooth animation even though it was only done on twos. He explained how meticulous and accurate placement of his lines with perfectly precicely spaced intervals for a smooth travel Across the page Resulted in its seeming Ever so smooth.
Baxter, J. (2016). Chel comfy chair. YouTube. Available at: https://www.youtube.com/watch?v=rZVMmZXotn0 [Accessed 6 Apr. 2021].
His advice he would give to all animators was this "The only sin you can commit is to fail to communicate"
He also referenced the quote “Acting is behaving truthfully under imaginary circumstances” by Sanford Meisner.
week 4
Once again we had another industry speaker this time called Mo Ahmed who was a lead animator for dentistry applications who previously went to animation course at Ravensbourne uni and later did a bsa degree. he now works as a animator for a startup dentistry visualisation for all types of available treatments, allowing high detail image from inside the mouth with breakdown and xray views.
We were told there may be available placements to start animation work for some of us students and i was actually pretty interested in such as he mentioned he was essentially a freelance 3D generalist at what he does and has been doing. as its a small scale team and hes freelancing he gets to cover lots of areas such as moddeling, lighting and rigging and simulating. This prospect appeals to me as i consider myself so far to be more of a generalist so far and working in this job role may gain valuable experience, so i will keep it in consideration as a valid option for alternative sectors i could work in.
Another speaker later in the day was Nicholas Georgeou. He is a animator supervisor at DNEG. DNEG is well known for heavily working on films such as Garfield and Nimona and contributing to many famous vfx in movies. He showed us in depth with his workflow and how he goes from planning out a shot to blocking in, all the way to polishing his animation. He also gave tips within maya by showing us how to find out where our rotation axis has gone wrong by using the show gimble gadget.
I was really happy that he managed to go through students work after his talk. allowing us to see how a professional would critique work, how he would approach fixing boring poses or compositions. He used a website called syncsketch which easilly allows another online user to draw over frames to illustrate which areas during the animation should be altered, allowing a very efficient way of visualising the potential improvements one could make.
One great tip i picked up on while he was reviewing work was understanding which body part we lead with. a character was going to put the keys in the ingition, and the head was following at the same time as the hand to go down and turn the key. but in real life there is really usually an offset, either our hand goes first or our eyes lead to see first. this will come in very useful to keep in mind when animation characters that are interacting with the enviroment.
week 5
This week we had the return of a previous guest speaker called Olena Martynyuk, a Work-Based Learning Officer. This lesson was about understanding our communication online and our connections we make can make a huge inpact on getting recognition for your work and reciving support. we were told to sign up and use linkedin and create a professonal profile that we can later use to message people we find that may be of possible use for mentorship for us when we feel we may need a mentor.
One of my choices for a possible candidate was a good friend of mine named Elan who graduated a couple years back from UCA. I have been hugely impressed by his work whereas he specialises in scene composition, moddeling, and lighting.
Then we had another speaker after that was very exiting for me as he was a vfx producer and vfx is a field i lead towards within the digital art field as we are in an animation course. This vfx producer was called Samir Ansari. It was a very enlightening and down to earth talk in which he discussed in depth the layers within industry and reflected on his entire life jouney at becoming a vfx producer.
an enlightening point he made while answering a question i had about big vs small studios, he was telling me that although you may get more freedom within a smaller company to direct the visuals yourself, you may also have to work long hours at a smaller studio as you will be more responsible for completing the projects, and a bigger studio will have better work hour regulations and benefits. a VFX producer or artist is a viable and enjoyable option for me and knowing the caveats of working at differnt types of organisations is a benefit. He also solidified and updated me on my information about payrates within the industry providing slides with different incomes for roles from VFX supervisor to Runner.
Visual effects supervisor : £100,000 to 250,000
CG comp supervisor : £85,000 to -120,000
head of department : £70,000 to 90,000
department supervisor : £65,000 to 75,000
CG compositing lead artist : £55,000 to 65,000
senior CG compositing artist : £45,000 to 60,000
mid CG compositing artist : £35,000 to 45,000
junior CG compositing artist : £25,000 to 35,000
(entry level) Runner / data op / wrangler : £18,000 to 25,000
week 6
This week was review week. We had to do presentations on what we have done so far. And our chosen specialism.
I felt I made a very clear and Organised presentation. giving clear examples of job opportunities in areas that I'm interested in. And also the caveats related to those specific roles and my strengths and weaknesses. I had also completed All of the required tutorials up into this point. And have rushed ahead and completed the rigging bonus tutorials. And class lesson tutorials. As I have gotten most of this out of the way I am spending this week Working on the more custom modules such as our own rigging challenge As I have realised it will take quite some time.
The only feedback i got during this "review" was in relation to my character performance. Our tutor Alan noticed a slight drift with the body control near the bottom. drawing more attention to area of improvements. this made me realise it was indeed a tad bit floaty near the hip, belly control. which i addressed when i arrived home that night.
week 7
talk 1
Industry Guest Lectures Summary - Marcus Ayrton - Shot Creator at The Third Floor
Production Pipeline Overview
The Third Floor follows a structured pipeline for visual development:
1. Storyboarding & Animatic
2. Pitchvis
3. Previs
4. Techvis
5. Postvis
6. Virtual Production
7. Animation
Technical Insights & Personal Workflow
Technical Insights & Personal Workflow
During the session, Marcus shared both technical knowledge and personal working methods. His mention of listening and being motivated by Drum and Bass while working resonated with me, as someone who also finds DnB helpful during long work sessions, and been to many DnB festivals and raves. It was interesting to see how different professionals develop their own approaches to maintaining productivity.
I was very happy to find out his demonstration included practical camera work within Maya, showing techniques for overlapping camera shots in the timeline to enhance scene delivery. even if it creates minor continuity breaks. This technique allows for capturing key moments from multiple angles effectively. Seeing a professional's actual workflow in Maya is rare, and proved valuable - he walked us through a BMX bike project with skate ramps, demonstrating his process for camera placement and lighting setups for previs.
He gave some insight into the future of Animation and the industry's slow but steady implementation of VR/AR goggles for live-viewing scenes mapped in real world spaces and how it shows promising developments. This technology allows for more experimental and intuitive shot direction without requiring immediate final decisions. also he explained how unreal engine is now being used for efficient previsulisation.
Unreal Engine (2022). Supercharging Production with Visualization in Unreal - The Third Floor | Unreal Engine. [online] YouTube. Available at: https://www.youtube.com/watch?v=xCNH0WbWL6I.
An interesting point raised was how the industry can be particularly welcoming to neurodivergent individuals, including those with ADHD. The variety of specialized roles allows professionals to focus intensively on specific aspects of production, turning what might be considered challenges in other industries into strengths.
Marcus clarified and defined the distinctions between layout and previs, which was particularly helpful for me as someone gravitating toward previs. I initially assumed layout and previs fell under the same category, but Marcus’s explanation helped me understand their unique roles. He explained that layout can involve creating a bird’s-eye plan, focusing on the physical arrangement of elements without considering camera placement or positioning. In contrast, previs focuses on the camera angles and providing a rough visual representation, while layout refines that vision into finalized set arrangements.
Despite their differences, both roles share similar skill sets, emphasizing planning, filmmaking and visual storytelling rather than specialization in areas like animation or modeling. Marcus’s insights have deepened my understanding of these roles and how they fit into different filmmaking pipelines.
He also mentioned how Previs is often a very good entry role as animators as it allows you to continue experimenting with various fields in the industry while also not requiring perfect animation skills, which is encouraging for me as someone who feels I have interest in more than one speciality.
Empire Magazine (2016). The Third Floor previs reel | Empire Magazine. [online] YouTube. Available at: https://www.youtube.com/watch?v=CHdzXECbH4w [Accessed 2 Dec. 2024].
After watching another previs showreel from The Third Floor on youtube later that day, I decided to start making notes for my own showreel I am going to need to put together later in this module, This us useful as I am now leaning more towards previs, as it often entails being a generalist:
lighting simplified.
textures used but mid level quality.
animations splined, not fully polished.
talk 2
Industry Guest Lectures Summary - Ollie Trotman - Senior Animator at Sumo Digital
Career Timeline Highlights -
Ollie's impressive career spans multiple major projects:
- Captain Scarlet TV series (Post-Ravensbourne University) (I rememberd this from when I was younger)
- Eurocon
- Dead Space
- G Force
- Disney Universe
- Framestore - Jupiter Ascending
- Natural Motion
- Guardians of the Galaxy
- MPC - Jungle Book
- Framestore Tarzan
- Sumo Zombie Game
- Danbusters - Pikachu Movie
- Dead Island 2
- Vampire: The Masquerade - Bloodlines 2
Ollie provided interesting insights into how animation techniques have evolved:
Ollie's comments about animation technology were particularly relevant. When discussing his time at Ravensbourne around 20 years ago, he mentioned how "no one should ever have to animate in just FK (Forward Kinematics)" - back then, they were limited to parenting bones and using basic FK methods. This connected with my recent experience struggling with a robot rig in our Rigging module. It was useful to hear that even experienced professionals worked with these basic tools at the start of their careers, and how much the technology has evolved since then.
His description of older animation techniques provided interesting context, such as the method of handling object swapping between hands by hiding and showing duplicated items. Having used this same approach in our recent previs module before learning about constraint switches in our current Rigging Research, it was helpful to see how animation workflows have evolved.
These historical perspectives highlight how far animation technology has progressed in the past two decades and empasises the need to stay up to date with the technology to increase efficiency and stand out.
Industry and personal Perspective:
Due to his focus on realistic animations, and detailed movements, his creative skills are saught after whether in high end games or cinematic films.
While Ollie has primarily focused on animation throughout his career, he's demonstrated how specializing in one area doesn't limit your opportunities. His journey spans across both gaming and film sectors, from Captain Scarlet to Dead Island 2, showing how animation expertise can open doors across different entertainment industries. Despite staying true to his specialty in animation, he's built an impressive portfolio working with various studios on diverse projects - proving that mastering your craft can lead to opportunities across the whole spectrum of entertainment.
week 7
DNEG Studio Tour Visit
I was excited when i found out we were visiting the DNEG studio earlier in the semester. Realising that they have created some of the best VFX in movies such as "The Boys", "Avengers: Infinity War/Endgame" and "Blade Runner 2049"
The most enlightening aspect of the visit was seeing the physical studio spaces, as much as i thought it may be a corporate and lifeless environment i found the setting very cosy and inviting with variety of drawings and in progress scribbling on the walls of projects in the works and cosy chairs with dual monitor setups. although we were showin around different floors of the studio we only managed to really get a view inside one presentation room and peep into a few PC studio rooms. It would be nice to have seen rooms for greenscreening and/or physical set setups for filming, but as this was their main animation studio its understandble they would have these facilities in other department locations and that we would visit the animation studio as we are in a primarily an animation course, Although I am also interested in vfx.
The presentation given from Jonny Adamson, a senior talent aquisition partner at DNEG, was enlightening as he talked about a few ways DNEG is currently operating and is split up into a few major departments.
he metioned:
DNEG Animation - 2D & 3D animation, our closest related department, eg: Garfield, Nimona
DNEG VFX - feature films, eg: The Boys
DNEG Redefine - VFX & Animation
DNEG 360 - virtual production on set, previs, data capture, led, volume rooms, virtual production. The stuff you want to see
DNEG IXP - Immersive experiences, concerts, harry potter theme park ride, limitless solutions, gaming collabs, monclear clothing trial.
I counted 50 awards given to DNEG shown on their website which is very impressive for any studio:
DNEG. (n.d.). Awards. [online] Available at: https://www.dneg.com/awards/.
He mentioned how DNEG is starting to be More independent and now trying to manage their intellectual property, Instead of just producing And leasing their services. Garfield was a prime latest example of how DNEG Is taking more responsibility and ownership over their creations.
Bisson, C. (2021). DNEG to produce ‘Garfield’ with Alcon Entertainment - DNEG. [online] DNEG. Available at: https://www.dneg.com/dneg-to-produce-garfield-with-alcon-entertainment/ [Accessed 20 Nov. 2024].
He mentioned all the places they have studio locations around the world:
Vancouver, Los Angeles, Budapest, Montreal, London, Barcelona, Sofia, Sydney, Mumbai, bangalore, mohali, pune, chennai, trivandrum, hyderabad.
He also mentioned what it's like working for the company As an individual, he mentioned; Social events like life drawing improv. they also have the "Inspire" series which has talks from professionals, Such as Guilermo Del Toro. They also have the "Inquire" series, for when if you want to find out or know about something, For example machine learning. they also provide mental health services for anyone requiring such needs.
Jonny Adamson also stated that workers for DNEG also get access to ZIVA VFX which is a plugin for Maya that gives aid in character control.
He also talked about where our place might be Currently On our career journey. He said although this talk was given to the third years last time. It can still apply to us In our second year. this time before we leave uni. It is about bridging our gap and working towards our goal He said we should be keeping busy. Keeping practicing keep working on personal Project talk to people and network. Having an other temporary job is okay. If needed freelancing is also an option. And in general just to keep going. He mentioned about how dedication Is key to improving.
He mentioned they also supply a six-month grad scheme. For graduates that can help get them the ropes. He also mentioned Extra resources and helped give it on the Access vfx website And the events that they host.
week 7 lesson
Today we had the return of our professional work based learning officer, Olena Martynyuk. Helping up to understand work ettiquette and professionalism in industry.
I felt I have ultimately got a good grip on writing emails having multiple members of the family in the education sector and email being their main communication to collegues.
we were instructed to draft a potential email we could send to a possible employer we would like to work for.
As an example here is a email i wrote to the director, Paul Arion, where i felt i demonstrated adequate work ettiquete within this email prior to this lesson task.
The email subject title was "Follow-up on Houdini Resources"
Unfortunately i am still awaiting a response even though he said in person he would provide the resources.
Here is my draft email for my potential future employer:
Subject: Application for 3D Animator Position – Thomas Pilott
Dear [Employer’s Name / Hiring Manager’s Name],
My name is Thomas Pilott. I am reaching out to express my interest in joining DNEG as a 3D Animator. With a strong background in animation and hands-on experience in performance-driven animation, character rigging, and dynamic simulations, I am excited about the opportunity to bring my skills to your team.
I am currently completing my studies in animation, where I have focused extensively on 3D character animation, scene construction, and simulation techniques. Through my coursework, I have developed a solid foundation in Maya, particularly in modeling, rigging, and creating believable character performances. My recent projects include detailed character animations, facial expression simulations, and rigging modules, all crafted to meet industry standards. I am particularly drawn to DNEG because of your commitment to pushing creative boundaries and producing high-quality, immersive animations that captivate audiences.
I am confident that my technical expertise and enthusiatic creative approach align well with the goals of your studio, and I am eager to contribute to your future projects. Thank you for considering my application. I look forward to the possibility of discussing how my background and skills can be an asset to your team.
Warm regards,
Thomas Pilott
vertech.uk
Olena Martynyuk
o.martynyuk@rave.ac.uk
week 8
Industry Guest Lectures Summary - Nexus Studios - Mark Davies - CG Supervisor - Natalie Busuttil - Head of Resourcing
The type of Client media they supply often at Nexus:
Music
Sports
Entertainment
Brands
My favourite client/production they have created for is the music video for Gorrilaz:
Gorillaz (2022). Gorillaz - Cracker Island ft. Thundercat (Official Video). YouTube. Available at: https://www.youtube.com/watch?v=S03T47hapAc.
The type of Content media they produce at nexus:
2D Animation
3D Animation
Live Action
Stop Motion
Puppetry
Realtime
AR/VR/XR
VFX
Realtime Puppetry
AI/Procedural Animation
Unlike other VFX or digital creation studios, Nexus has an all in one production pipeline where they produce and manage their own projects.
They claim to be a versatile, story-driven studio.
I found them to have a much clearer presentation and layout in their explanation of different levels and roles within the industry compared to some other lecturers.
They gave clearer understanding and examples of how the timetables and scedules are layed out for the employees at Nexus using spreadsheets with colors to help organise.
They also went into detail and gave an example of how they go about production from start to finish and when the different stages are incorporated into the pipeline.
They mentioned that as companies are getting bigger agencies aren't being used as much to get projects from clients and start project, they may be more internally managed by the studios. This can be more efficient because they are removing the middleman in a sense and creating a more streamlined production.
They mentioned the emerging benefit of Unreal Engine and its bridge plugins for Maya, and its recent application in not just games, but also efficient and high quality film visualisations.
They also gave insight into the technical optimisation of assets for realtime performance (fps) constantly has to be updated and specifications changed. They gave a list of things that need to be considered for such:
Polygon count of models - solidifies my previous research of scene optimisation for games vs films
Combining models where possible to reduce 'draw cells' - helps save memory by containing less locational information for multiple assets.
Optimisation of shaders - understanding how many light rays are used in a scene can heavily influence performance
What tricks are efficient? - possible integration of new AI tools into the pipeline to increase efficiency
They mentioned how Blender, was a great peice of software for combining 2D and 3D media. As I have previous experience with scene creation within Blender, I was already aware of its potential as a efficient multifaced tool of a software.
They also mentioned how they often are having to consider aspect ratios to a higher degree. with expanding media creation having the standard aspect ratio of 16:9 flipped to 9:16 for apps such as instagram, tiktok. Media creation constantly has to be reevaluated for other platforms, which in many cases is not as simple as cropping footage, as good scene compesition replies of the arrangement of the content of the scene which is filling the set aspect ratio. they gave an example image to help explain why this is a increasing issue in production.
Being a more all in one studio, Nexus gave usefull information not just from the directly relates creative artist side, but also from the management/production side further up in the industry. Natalie Busuttil gave extra information to do with the role and responsibilities of the production manager which although is not directly in our course initiative, but would be a possible route for anyone seeking a higher role in industry and enjoys helping the people making the content manage their scedules, and receive organised instructions and managed workloads and efficiently communicating any feedback. She also broke management and production down them into further specific roles:
Executive producer
Producer
Production manager
Production assistant
Development producer
Studio manager
Resource coordinator
Talent acquisition
They ended the presentation on notes such as how to show a good portfolio and reinforcing basic portfolio and showreel principles:
Create a good showreel
Consider relevant work for your portfolio - Only show your best work
DRAW! Always
Keep abreast of what your peers and heroes are doing
Be social - know how to network
Linked-In
This week I saw a great post which was reccomended to me due to a fellow classmember liking it on LinkedIn.
This Maya script discovered by Alena Shchukina, is a great plugin which uses simple nerbs curves to visually create appealing trails behind objects and by changing the display color of them you can easily create a flame like effect. this will be useful more much more than just fireswords. i can imagine this being useful for steaklines from planes or jet engines from rockets.
This is another example of how networking online can easily give insight and helpful tricks to improve and spice up our portfolio reel.
Pre-Vis job listings and goals.
I have already researched into different roles and positions that i would be happy working in previously for my mid review presentation. and still feel i would be satified landing short term role as a moddeller or animator as such as listed before.
but recently previs has stood out to me to a larger degree as it allows me to generalise over areas that i would still like to improve my skills at. Therefore i will now take a more specific look into previs or closer related roles and what is expected for me as a previs artist.
listing 1
This position from DEEP BLUE animation draws my attention as it is the only previs one that states pure previs and not previs/layout.
As a recent lecturer has cleared up for me. there are some key differences that separate previs from layout.
they both emphasize planning, filmmaking and visual storytelling, but previs- still replies on the framing from the camera. layout could be measurements or floor plans which dont nesseceraly rely on the view from the camera.
Understanding that I still feel I need to improve with my camera skills i felt this job role would suit me better hopefully providing more oppotunity and experience to experiment with cameras and shots.
Many of the Job listings for such roles specify the usual:
required Maya experience
a number of years experience in a similar role.
Deep Blue also wants a good Demoreel/Showreel demonstrate my skill.
I understand that experience is something that will come with time and practice long term, so I am currently preparing and beautifying my current Showreel for a Previs/Generalist direction.
Deep Blue. (2021). Deep Blue | Jobs | Previs Artist. [online] Available at: https://www.deep-blue.com/previs [Accessed 3 Dec. 2024].
listing 2
This position from LUNAR animation draws my attention due to many reasons; their "about the company" section at the bottom where they state that, Lunar Animation was founded in 2014, by a team of highly experienced Artists, Animators and Generalists. this appeals to me as they have actively employed generalists to help grow the company. understanding that a generalist is still a position with many doors they can open for future and where theirs skills can be useful across multiple areas of th industry. I feel members of such a studio are more likely to relate to others and understand others desires to experiment and expand their experience with multiple areas of animation.
Another HUGE reason for me to apply for this role is also my knowledge and personal experience with CHAOS Products. I am happy to find that my skills and current pursure of the PHEONIX software has already shown personal advantages to securing positions later in my career. This studio has actively shown high end simulation work created using the CHAOS products. Which I strive to also acheive.
It also appeals to me as it is centered around high fidelity games. Which is an areas that appeals to me due to the realistic detail.
LUNAR ANIMATION | CG Animation & Visual FX Services. (n.d.). Previs/Layout Artist. [online] Available at: https://www.lunaranimation.com/careers-animator.
listing 3
This position from DNEG animation draws my attention. as i have recently attended and seen talks from DNEG in person during our course. i was already intrieged by the proffesional studio setup rooms which was located at DNEG. The lounge area was even more comforting. seeing drawings on the walls in the computer labs of recent projects the teams have worked on reveals the cooperation and everyday life of a digital artist at work. from my pleasent experience at the studio i am more keep on working for a studio that cares for its employers and this studio seems like they do greatly. this is why i have taken a look into this layout artist role that i have recently come across as a good potential future goal of mine after i have gained some experience elsewhere, as this one requires 6 Years total experience, so it is a much longer term goal of mine.
thebigjobsite.com (2024). thebigjobsite.com | Rough Layout Artist (DNEG Animation) In London. [online] Thebigjobsite.com. Available at: https://www.thebigjobsite.com/details/5800DCE868C5B0D5C17BBABB4C56677B/rough-layout-artist--dneg-animation?source=attbus&utm_source=googlejobs&utm_medium=api2&key=7646FBE7FC171B075D3895271A9F5CB8&utm_campaign=google_jobs_apply&utm_source=google_jobs_apply&utm_medium=organic [Accessed 3 Dec. 2024].
Showreel research
Here i will breakdown some things i have noticed about other showreels online and what i should try to aim for in my showreel.
I need to identify what specialism my showreel is trying to demonstrate and how i can make my showreel stand out and seem professional
I previously looked at Previs Showreels such as from FireBug Films earlier in the year, and The Third Floor recently in class and at home on YouTube. Common themes to use to help draw upon in my showreel as mentioned before in high quality studios are:
lighting simplified.
textures used but mid level quality.
animations splined, not fully polished.
Empire Magazine (2016). The Third Floor previs reel | Empire Magazine. [online] YouTube. Available at: https://www.youtube.com/watch?v=CHdzXECbH4w.
My Site. (2024). Home | My Site. [online] Available at: https://www.firebugfilms.com/ [Accessed 2 Dec. 2024].
I am now going to research more showreels online to gain further information and tips on how to set up a visually appealing showreel:
GENESIS VFX (2024). 3D Generalist Showreel 2024. [online] YouTube. Available at: https://www.youtube.com/watch?v=8OXWglkEgeU [Accessed 1 Dec. 2024].
Jake Newton (2020). Junior 3D Generalist Showreel - Jake Newton. [online] YouTube. Available at: https://www.youtube.com/watch?v=cW2gYHbPmok [Accessed 1 Dec. 2024].
from analising these youtube generalist showreels i can draw certain cencepts such as for previs shows it can be useful to change from rendered view to viewport view and then to grey default shader + polygon draw view to show the breakdown and geometry quality as well as how its constructed underneath. this shows without distraction of detail, more easily how i went about creation of my projects. another common trend i noticed a bit too often while analysing previs/generalist showreels, is the turntables, originally a quick and efficient way to show a model, has now become so generic it may be hard to make your model stand out when every other model is doing the same movement. To improve this i will try to aim for a more specific example with movement of the character, instead of having them static and rotating. also without overdoing the visual appeal of my showreel i will want to minimise the amount of unessacery text on my screen such as if i was to record a video of my demonstrating my rig, i wouldnt want to have my windows taskbar at the bottom and the window bar along the top- both of which add nothing to the viewer, the only thing i may want to include from the side panels are things that may be actively moving. such as if i am demonstrating blendshapes on a character. i may have only the attribute editor displaying the changing values to help show that each control has been created efficiently with values and set limits. expanding on the direction of my generalist skills applying to previs. i would want to make sure my camera angles and shot lengths are carefully planned as although not at the forefront of animation, the camera angle is a huge part of what helps sell a shot or scene. i will make sure that all my showcased skills and projects are well framed and centered for the viewer. Drawing from my first hand research of showreels alongside repeated advice on only showcasing my highest quality of work, i have decided to split my work and separate into work im proud of and will consider showing and work i felt i didnt complete in time and will not include, such as my previs groupwork module from last semester. i felt this project was a good attempt at previs but ultimately i felt needed improvement, as well as not being completely my own work which sets anybody making a previs showreel back a bit not being able to include this in my previs showreel work... but other projects such as a project in Blender that i fully created myself demonstrate good, moddeling, lighting, simulating and composition skills.
Because my showreel will be aimed at a generalist role, likely previs. it will still include the aspects of other specialisms and i feel demosntrating good skills in these areas will also give great benefit at proving i can be usefull in previs which relies on these aspects. i have decided to look at other showreels that are centered around animation. this is due to being instructed by our tutors to use references for all our final animation projects. so i thought id include these but no other animation showreels i have seen include a reference. this unfortuntely sets us back by making us have to reshoot, reangle the camera, and resetup our visual appeal for all of our already completed animations to include in our showreel. netherthe less i have still been drawn to the simplistic nature of the following animation showreel. i feel i can improve in areas such as the setting and getting rid of the bland grey maya background as shown in much of the following video, possibly creating a visually appealing ground plane to help make my animation stand out more without briging the attention away from it.
Another good observation was the length of showreels. From my research I have found that previs showreels often are a little bit longer than standard moddeling or character performance showreels, as previs also includes- and is centered around storytelling and narrative and not just a single action or an image, It may be a full sequence of movements. This means that I should be aware I may not be able to shrink down the length of my showreel as much as some others have as there will generally be more content displayed. An example of this to prove my point is from the previously mentioned and linked showreel above from MPC and the following showreel sent to me by my tutor Sanjay, which are both over 2 Minutes long. I should aim to keep my showreel around 2 minutes or under.
THE THIRD FLOOR INC. (2024). The Third Floor | Company Reel 2024. [online] YouTube. Available at: https://www.youtube.com/watch?v=GvpCLnxtLzY [Accessed 4 Dec. 2024].
Another recent useful tip i came across recenetly was from a classmate called Darwin who forwarded me on LinkedIn a great simple way to setup my Maya scene for a showreel. Creating a really visually appealing and not so distracting ground plane that smoothly transitions into the distance. This is a massive improvement over the standard maya light grey ground plane and a bland dark grey background.
Asurika_Bentz (2024). Show reel animation 2024. [online] YouTube. Available at: https://www.youtube.com/watch?v=ovssnNPgCag [Accessed 1 Dec. 2024].
SHOWREEL
Here I am deciding what pieces of work are relavant to go into my showreel:
Environment created in VUE, Rig created for our rigging module, volumentrics created in Pheonix.
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