justinAnimator's thoughts

Blog tweaks

2006-11-12T21:57:00.000-06:00

Just migrated to the new Blogger beta, and I'm also switching my blog host to Blogspot instead of hosting on my own server. The look of the blog won't change (i.e. it should still mesh nicely with the rest of my site), but I believe that the hosting switch means that those who are tracking the RSS feed will have to point to the new location: http://justinanimator.blogspot.com/ . That said, it's possible I'll be moving it back to my site if I decide to install Wordpress, but I haven't made up my mind yet.

To pilfer a phrase from the inimitable John Berry, catch ya on the flip side! (Okay, so maybe it's not a John original, but he sure says it a lot...)

Fun at work: Smarties Ballistics Tests

2006-10-07T23:32:00.000-05:00

Steve Kolbe, who is head of layout and asset management for BOZ, has a modified Nerf gun that he constantly likes to "test". It has much greater air pressure than the off-the-shelf model, and an added tube allows it to shoot the smaller Velcro-tipped darts as well as the larger missile-style rockets it was originally designed to launch.

Most of Steve's tests lately have been attempts to shoot the small darts at my desk, which is on the opposite side of the studio from his, but this past Friday, someone brought in a bunch of Smarties rolls, and it was suggested that Steve shoot one of those from his gun. I didn't have my camera ready for the initial test, but it ended about how you'd expect. The Smarties lost big-time.

Steve's next attempt was with two Smarties packs at the same time, and this time I was ready with my camera. The white dot on the target wall is the impact point from the first test.

A final test later in the afternoon involved a repeat of the shotgun test, but shot inside the studio (in the back, where there's large, mostly-empty space). However, I wasn't aware of this test until I heard the gun go off, then the sound of Smarties raining down on filing cabinets, old monitors, etc. Fun stuff. :)

The Very First Noel

2006-10-04T15:14:00.000-05:00

We just wrapped production on a really sweet project: The Very First Noel. I animated a few shots on the side from my main work, and had a great time. It's definitely going to DVD, but the directors are pushing to get it on TV as well. Anyway, check it out and get ready for the holidays!

NFB puts 50 animated shorts online

2006-09-26T11:22:00.000-05:00

Growing up in the Pacific Northwest, I watched a lot of Canadian TV, and was exposed here and there to some of the great animated work done through the National Film Board of Canada (NFB). When a DVD was released of some their top animated shorts, I jumped on it. While it's not all character animation, even their experimental stuff intrigues me. Recently I also learned of the release of a DVD cataloging the work of one of their more popular animators, Norman McLaren, and I'll jump on that when I get the dough. And now I find that the NFB has put fifty of their animated short films on their web site! Sweet!!!

Everyone's Hero clips

2006-09-22T00:23:00.000-05:00

Just posted a couple Everyone's Hero clips on the animation page. One is from the film, the other is a fun test from pre-production.

And yes, I know this note is redundant considering that I posted the same note to the front page of my site, but that page doesn't have an RSS feed. One of these days that front page will be this blog...or this blog will be the front page...or something...

Everyone's Hero, Part 2...sort of

2006-09-22T00:06:00.000-05:00

I'd originally planned to post this part closer on the heels of the first one, and ideally before the film was released. Now that the film has been out for a short stretch, it probably won't mean as much, but here it is in a nutshell...

I'd heard/read several comments prior to the film's release about how the first trailer gave away the plot of the film, and people were less interested in seeing it if they already knew the ending. True, it did reveal a lot about the begininng and end of the film. What it didn't reveal much, though, was the middle...the journey.

You see, if films were about nothing more than beginnings and endings, they'd be dull. A lot of what makes them interesting and appealing is the journey in the middle...the experiences the characters go through on the way from the beginning to the end, and how those experiences change and influence them. While the end of a film is certainly important, it is nothing without the journey. So while we may say we go to a film to see how it ends, I have a hunch we're really going for the journey. It's the journey that gives the ending its power.

Now, while the journey in Everyone's Hero may not be earth-shattering or mind-blowing in its depth and complexity, it most certainly has an impact on the end, and there are some fun things that happen during that journey that make the end more meaningful. So even though you may know how the film ends, I think it's worth seeing for the journey.

Everyone's Hero, Part 1

2006-09-12T23:26:00.000-05:00

My involvement with Everyone's Hero has a bit of an odd twist to it. It started when I was working as the lead animator at DPS, which was/is a sub-company of IDT. Somewhere during late 2003/early 2004, we got word that the head of IDT, Howard Jonas, had written a story called Yankee Irving that he wanted to have made into a feature film. At first, all I knew was that the title character was a young boy, and the story had something to do with baseball. Next we heard that Christopher Reeve was going to be directing it, and he even came through the DPS office at one point (I saw his bald forehead as he rolled down the aisle on the other side of my cubicle wall and into the editing suite for a meeting). Before I left DPS in the spring of '04, modeling had begun on a Yankee and the baseball, Screwie, but I still didn't know anything more about the story. After leaving DPS, I freelanced for Reel FX before they hired me full-time in the summer of '04.

Fast-forward to the late fall of 2005. I'm walking past one of the Reel FX conference rooms, and as I glance in, I catch a glimpse of an animatic that's being projected on the wall. My eye latches onto the lower part of the image, where I read "Property of IDT Entertainment." That made me stop and look more closely at the animatic drawings, and I saw that they were of a boy and a baseball. Was this Yankee Irving? I checked with my sup, and sure enough it was. We were bidding to help with animation and lighting on a project that I almost worked on at my previous job. How weird is that!

Not long after that, we started getting the character rigs to play with, and by late January of this year, we had started animating the first shots out of of roughly 20 minutes of footage that we were assigned from the film. A short while later, we got word that the name of the film had changed to Everyone's Hero, and about that same time I had to shift gears as I was starting to take over as animation supervisor for the BOZ video series. In the end, I only animated five shots for the film, and I'm probably only going to post one of those on the animation page of my site once the film comes out. Despite my short time on the project, I'm pretty happy with how my shots turned out, and I'm grateful for the things I learned in the process.

I was going to write more tonight, but I gotta crash. In Part 2, I'll be responding to a comment/complaint I've heard about the film's trailer...

tweenMachine v2.02

2006-09-12T23:13:00.000-05:00

Didn't announce 2.01, so I'll cover that and 2.02 in this little update...

For v2.01, which was posted a couple weeks back, the major update was to make the tweenMachine play well with character sets. Now you can easily key character set data with it, using one of two methods. You can create a custom character set group (using a special menu item) that will key the active character set, or you can import your character sets into the tweenMachine.

2.02 just got posted, and adds the ability for those using Maya 7 and higher to toggle the use of Maya's "special" tick color for keys created using the tweenMachine.

tweenMachine v2.00 is ready!

2006-08-20T04:34:00.000-05:00

Yep, it's approaching 5:00 in the morning. And I'm gonna get an earful from my wife for staying up so late. But at this point, I really don't care. I've felt this crazy urgency to get v2 of the tweenMachine assembled ever since all the upgrade ideas came to me late last month, and this is the final push to get it out there for people to use. There are still some "icing" features to add, but those will come more slowly. For now, I'm happy with the "cake" I was able to assemble during the last month or so, and hope it tastes good to the folks out there.

In releasing this beastie that has taken so much of my free time and brain power lately, I must first and foremost give thanks to God for giving me the capacity to make this tool and share it with the animation community. Thanks to the folks on my "beta team" for their patience and willingness to take it for a spin in the early stages of development, and for helping me work out various display issues and bugs that cropped up. Thanks for the notes of enthusiasm I've received, in reference to both the original version and the beta of v2. It makes me feel good to know that it's helping folks with their animation process. I'm especially grateful for comments I've received from folks making the transition from 2D to 3D, expressing how the tweenMachine has helped make the shift easier.

All right, off to bed wit' me. Enjoy!

tweenMachine v2 in the works

2006-07-23T14:55:00.000-05:00

While a tiny UI with one slider that operates on selected objects is useful, it's also extremely limited. I'm in the early stages of development on v2.0 of the tweenMachine, and wanted to let folks know what's coming. This will be a major update with a number of new features, including:

Sets: Users will be able to create custom sliders that affect a specific set of controls. With this feature, you can more easily sculpt the start of a breakdown pose without selecting a single object. For example, make a slider that affects the entire body, another that only affects the spine, one for the left arm, etc. Controls can be assigned to any number of sets.

Groups: Any number of set sliders can be organized into collapsable named groups. For example, you could create a group for each character in your scene.

Save with scene: Data for groups and sets is saved with your scene file. When you reload your scene and start the tweenMachine, it will read the existing data and rebuild the UI automatically.

Load/Save: Save data for all groups and sets to a text file, and load it into another scene.

Import: Import specific sets or groups from a saved data file.

Timeline ticks: Enable/disable ticks on the timeline for any set or group, so you can see where your poses are without having to select anything.

Stay tuned for more!

New animation software: Reflex

2006-07-14T14:30:00.000-05:00

Work buddy Bryan Engram just shared some info he found about a new animation package being developed by some CG animation industry vets. Gotta keep a close eye on this puppy...

tweenMachine Update

2006-07-13T12:48:00.000-05:00

Updated the tweenMachine tool last night (a.k.a. early this morning). Now it recognizes when channels are selected in Maya's channel box, and only operates on those channels. This allows you to easily favor specific channels in different ways, which should make it a lot easier to block out arcs, overlap, and other things I probably haven't even considered. I've been wanting to add this feature for some time now, and finally got the "oomph" after reading a post on an Animation Mentor forum from David Martinez that he was looking forward to it. Ask and ye shall receive and all that. ;)

La Linea

2006-06-24T09:51:00.000-05:00

La Linea! It's online! I remember watching these cool little animated shorts when I was a kid. A student on AnimationMentor.com posted a link (found on the Drawn blog) to this site that has 50 of the shorts online. Now here's the funny part...I remember watching them on American TV, they're of Italian origin, and now a French site is hosting a bunch of them. Gotta love it!

EDIT: Apologies to Justin Weg for not properly crediting him as the source of the post on AM.

Trailer for Everyone's Hero

2006-06-16T23:17:00.000-05:00

The first trailer for Everyone's Hero is up on the film site. Kinda small, though. Oh well...it's up!

"The Myth of Talent"

2006-06-14T00:22:00.000-05:00

Found a link on a photography forum to this really cool article called "The Myth of Talent". Very inspiring read!

Site up for Everyone's Hero

2006-05-18T12:01:00.000-05:00

The official site is up for Everyone's Hero, a film we're helping with at Reel FX. We just finished animating about 20-odd minutes of footage, and we're lighting a good chunk more than that. The characters were very fun to work with, and the story's got some heart to it. I only animated about five shots on it before I had to back out and focus on supervising the next BOZ video. It would've been fun to do more. Here's hoping I'll be free when the next one comes along...

House up, e-mail down

2006-04-03T10:22:00.000-05:00

Well, it's not exactly like that, but anyway...

With the move into our new house that happened last weekend, we've had some hiccups getting phone and DSL service installed. Long story short, I've been without access to my home e-mail account for just over a week. So if you've written and haven't had a reply yet (or if my mail server is bouncing stuff 'cause it's full...I hope not), I apologize. Only a few more days to go before it'll be up and running again. Thanks for your patience...

Crazy Hair Day at Reel FX

2006-03-14T13:50:00.000-06:00

To celebrate the release of the first two BOZ videos, the folks here did a five-business-day countdown with different activities each day. Today being the final day, with the theme "Wild about BOZ!," the challenge was to come to work with crazy hair. It was about time for me to cut mine anyway, so I decided to be creative with the cut. My wife helped to sculpt the back into the nice V shape. And of course I couldn't stop at the hair, so I decked out the rest of me as well. Pics are posted in our family photo gallery.

And I won! Woohoo! :D

"You're nuts...I applaud that!"

2006-02-25T21:54:00.000-06:00

Following the ceremony for the first Texas Avery Animation Award last November, Reel FX hosted a private party at the studio for award recipient Brad Bird, Reel FX employees and their families, and selected other guests. I had my camera in tow, and shot a ton of photos and video throughout the evening. This is just the first of several posts I'll be making to share little tidbits from the event.

The focus of this first post is a comment that Brad made to a budding young filmmaker. Chuck Peil, our executive director of business development, told Brad that the young man wanted to be a filmmaker. Here's the entire exchange, which I was lucky enough to capture on video...

Quicktime - H.264 - 1.44 MB

I like Brad's final follow-up remark just as much as his initial reaction, because it really says a lot about this industry. There's nothing the least bit logical about making animated films. Where's the logic in taking several years to craft an experience that's over in an hour or two? Or in telling stories with characters that don't really exist except as drawings on paper, or as numbers on a computer? Logic has nothing to do with it. It's all about emotion. If you're willing to let your emotions -- and your desire to share those emotions -- carry you through the roller-coaster ride that is the creation of an animated film, you've gotta be just a teensy bit loopy.

Personally, I think that's part of the attraction. :)

Gugulix and Sushipajamas online!

2006-02-18T12:35:00.000-06:00

Quick note to plug a couple blogs. First is a new blog created by a friend of mine, Doron Meir (nickname: Gugulix). I worked remotely with Doron when I was at DPS a couple years back. He was the anim supervisor at DPSI (DPS Israel), so we got to chatting quite a bit online. He's quite an accomplished artist in both 2D and 3D, and his work has inspired me a lot. I was stoked to hear about his new blog, and I can't wait to see more of his work on a regular basis!

On another note, my friend Lydia Williams (latest nick: Sushipajamas) put up a blog not too long ago. She's currently a student at SCAD, but we first met several years ago when I was working at Big Idea. She's learning a lot at school, and is developing a really fun style with her artwork. In addition to studying animation, she and some friends started a program to teach animation to students at an elementary school near SCAD. Way to go, Lydia!

Simplicity and story

2006-02-16T12:09:00.000-06:00

Just read a great bit of commentary from a story artist on the beauty of simplicity when it comes to story. Well worth checking out!

Ray Harryhausen coming to Dallas!

2006-02-15T09:06:00.000-06:00

Got wind of this from a friend a couple days ago, and today the official announcement is online. Woohoo! Can't wait for this one! I've still gotta post some stuff from the Brad Bird event last fall. Not sure when I'll get to that...hopefully soon.

Observations: "The Runaway"

2005-12-17T20:22:00.000-06:00

A while back I was sitting in a doctor's office, waiting for the doctor to return to my exam room. Naturally I was doing what we all tend to do while waiting for doctors to return: I was glancing at the collection of Norman Rockwell artwork hung on the walls. I'd seen most of the pieces before, but seeing that the doctor was keeping me away from animating, I decided to study the prints to see what could help me as an animator.

One favorite on display was Rockwell's classic, "The Runaway." It's such a deceptively simple image, and yet it's clear that Rockwell took great care to construct the image in such a way that your eye can't help but go where he wants it to go, which is to the facial exchange between the kid and the cop. Some of these guiding elements are related to the tonal values chosen for the setting and the characters, but there are also a number of things in the characters' poses that are good to study from an animation standpoint:

One of the biggest pose "guides" is the angle of the cop's right leg. Follow that up and it'll take you directly to the kid's face. Notice how the cop's gun is angled to nearly match the leg angle. Also notice the nice negative-space triangle formed by the right leg, the stool post, and the seat. That also helps the right leg to draw our eye.
To contrast that, notice the cop's left leg. Even though it's angled in the opposite direction, it has been posed in such a way that it doesn't lead the eye nearly as clearly as the right leg. There's no negative space associated with that leg, either, so that also helps put more focus on the right leg and where it's leading us.
The cop's right arm is angled similarly to the right leg. While it doesn't point directly to the kid's face, it does aim at the well-crafted negative space between the two lead characters' faces. Looking at the left arm, the forearm angle blends with the edge of the countertop so it doesn't really stand out, while the upper arm guides the eye up and over the cop's left shoulder toward his face.
Working with that upper left arm is the radio on the back wall. The cord coming up on the left, the shelf upon which the radio sits, and the little extra dangly bit of cord on the right all work to subtly emphasize that shape of the cop's upper left arm and shoulder, and guide your eye where it needs to go. In case that wasn't clear enough, that little dangly loop of cord to the right of the radio is pointing at the cop's head.
While the cop's eyes are clearly looking at the kid, the brim of his hat adds an extra bit of emphasis. It looks like it's pointing right toward the kid's eyes.
Check out the notebook in the cop's back pocket. The bright white silhouette of the pages points directly toward the kid.
Even the face of the counter man has some guides. The angle of his smile leads you to his cigarette, which is pointing directly at the kid's face. The very trianglar shape of his head also leads you into the heart of the action.
From a more broad perspective, compare the poses between the kid and the cop. While there is a little countering between the kid's hips and shoulders, his pose is essentially vertical, whereas the cop is arcing to the right. Combine that with the cop's bulk compared to the kid, and your eye goes to the pinnacle of the two poses, right to their faces. The angled bulk of the cop feels like a towering mass toppling in the direction of the kid, which further emphasizes the emotion of the scene.
While checking out the background info about this image on the site linked above, I was clued in to another guide: the stick on the kid's hobo sack. The site points out how the stick's diagonal angle guides your eye toward the stools, and from there up to the characters, but it doesn't mention exactly why the stick works so well. I believe it works because the right end of the stick was carefully placed out of frame. That only leaves the left end to act as a pointer into the scene.

Such carefully crafted poses that show you exactly where to look, and yet it feels so comfortable and natural...so "un-posed". Awesome stuff!

Artists and doubt, revisited

2005-12-13T17:31:00.000-06:00

Just got word that my buddy Bill Jacoby has started a blog, and his opening entry touches upon a subject that I briefly mentioned a while back: art and fear. Bill is quite the insightful guy, and his comments really hit home as I read them. Definitely keep an eye on this dude!

While I'm at it, it's way past time I updated the blog list on the sidebar. I've found a host of interesting and inspiring blogs since I started this thing earlier this year, and I apologize for not sharing them sooner. More fun stuff to come as I find it!

Relationships, emotions, and animation

2005-12-03T04:03:00.000-06:00

I've had this kooky little theory floating around in my head for quite a while now. I've mentioned it on occasion to different folks, but have never taken the time to write it down in any detail (well, actually I have, but that's another story). Without getting to fancy-schmancy about it all, here's the gist of it...

I believe that every aspect of life, down to the tiniest detail, can be described in terms of two things: relationships and emotions. I believe that everything is involved in some sort of relationship -- whether it's social, physical, chemical, audible, visual, spatial, chronological, etc. -- and that the nature of the relationships that we're involved in affect us emotionally to varying degrees. It can be a bit of a deep concept if you really start to break things down, but for the purpose of this entry, I want to focus on relationships and emotions with regard to animation.

Animation is definitely an emotional art form.* We don't talk about its power to convey great logical concepts. We talk about is power to move us emotionally. Why are character and story always touted as being so important to quality animation? Because without carefully crafting those elements, the audience won't feel anything. If the audience doesn't feel anything, they'll move on in search of something else.

The emotions in an animated story are controlled through a wide variety of relationships. While we most often use terms that don't include the word "relationship," there's a relationship to be found at the heart of each concept. Here are just a few examples:

Pose: the spatial relationships between the different parts of a character's body

Staging: the relationship between the camera and the things the camera is viewing

Squash and stretch: modifying the relationship between the height and width of an object to change its shape

Timing: a chronological relationship between poses

Spacing: the relationship between the positions of an object in space over a given period of time

It can be difficult to find words to describe the relationships that are present in some animation principles (I gave up on "arcs"). They're definitely there, though, and here's the key thing to remember: By altering the various relationships over which we have control as animators, we consequently alter the emotional tone of the result.

When it comes down to it, an animator is just a specialized relationship counselor. My job is to understand the emotion(s) that the director wants to create in the story at any given moment, and then craft all the relationships at my disposal to create that emotional impact. All those relationships have to work in harmony -- or in other words, the relationship between all those individual relationships needs to work properly -- or else the resulting emotion won't be the right one for the moment.

So how can I use this kooky little theory when I'm working? Well, I personally find it a LOT easier to think about animation using the more traditional terms most of the time, rather than using the relationship-based breakdowns of those concepts. However, what this theory has helped me to do is to hone in on the emotions present in everything I do as an animator. As I'm planning out a scene, I make sure that I identify the desired emotions, and then make sure that everything I do -- poses, timing, spacing, etc. -- helps to feed that desired emotional tone. As I'm posing a character, I'm aware that the slightest adjustment to a head tilt or an eyelid level will change how that pose feels. When I'm reviewing a shot, whether it's my own or someone else's, it can be especially helpful. If there's something that's "just not working," and I can't easily put my finger on it at first, I'll break down the emotional impact that comes from each component; i.e. how do the poses feel? How does the timing feel? Spacing? Breakdowns? etc. This breakdown often helps me to isolate the part that's not contributing appropriately to the emotion that's required for the shot or scene.

An example of this kind of troubleshooting happened fairly recently as I was looking at an acting test that someone asked me to critique. At first I was tempted to comment on some of the technical issues that I saw with the animation. However, the more I watched the clip, the more I felt that the main problem was something deeper and more basic. The moment I started looking at some of the core relationships in the clip, the problem jumped up and started waving at me like Molt from A Bug's Life. "Oh! Pick me! Pick me! Oh! Oh!" I felt a little silly that I hadn't seen it sooner, but what was jumping and waving was simply the relationship between the dialog and the animation.

The animator had used a short line spoken by Kip from Napoleon Dynamite. If you've seen the film, you know how Kip talks...fairly mellow and soft, with a slight lisp, and a touch of a sing-song delivery to his lines. If you've never seen the film, you can still tell what kind of guy he is by the way he talks. He's a wimpy, soft-spoken, ever-so-slightly-arrogant nerd. The problem was that the animator didn't animate the character to be a wimpy, soft-spoken, ever-so-slightly-arrogant nerd. They pushed the confidence level a bit too high in the physical performance. There was a small moment that almost worked, though, and I think that's what threw me. It was off just enough to feel off, but not enough for the problem to draw attention to itself right away. It wasn't until I started picking apart the individual relationships that I found the culprit.

A similar example from a few years ago also comes to mind. I was involved in some discussion on the 10 Second Club forums following the competition that featured Anthony Hopkins from Silence of the Lambs saying, "I do wish we could chat longer, but...I'm having an old friend for dinner." One forum member commented that he didn't create an entry for that round because he really enjoyed doing humorous animation, and he felt that Hopkins' serious delivery wouldn't allow him to do something humorous. I got the impression that he equated humorous animation with fast delivery of witty dialog, so in my reply, I pointed out how it would still be possible to create a humorous clip using that very mellow line. It's all in the management of relationships.

As illustrated above, one relationship that must work when animating to dialog is the one between the emotional tone of the vocal performance and the emotional tone of the physical performance. It generally doesn't work to have someone talking very calmly but moving very quickly. If you try to do it, your voice will still give subtle clues that you're not acting as calmly as you're trying to speak. With a mellow delivery, there must be an equally mellow performance. So how do we create comedy from this situation? By playing with the situation itself, or in other words, playing with the relationship between the mellow delivery/performance and the specifics of what the character is doing.

The example I provided for this 10SC animator was regarding another entry from that round that used Hopkins' dialog. The animator of this other clip had chosen to have the character picking his nose while talking on the telephone, and eating the boogers he pulled out of his nostrils. When the character went to eat the little booger ball on his finger, he reared back quickly, and quickly thrust his finger into his mouth. It gave a very typical "Look, I'm doing something funny" feeling to the performance, which contrasted with the very mellow and serious tone of Hopkins' vocal delivery, and caused the clip to be less successful. I believe this same situation would have been absolutely hilarious, however, if the animator had gone for a very serious performance, and let the humor lie in the contrasting relationship between that seriousness and the absurdity of what the character was actually doing.

Imagine the character treating the snot-ball as if it were a delicacy, something to be savored. Picture him gently inserting his finger into his open mouth. His lips softly close around the base of the finger, and he slowly closes his eyes. After a slight pause, he draws his finger out ever so slowly, eyes still closed, and he leans back, an expression of pure ecstacy on his face. By leaving the vocal/performance relationship intact, what would make it funny would be the relationship between this very serious performance and the absurdity of eating one's nasal nuggets.

Relationships and emotions are inseparably tied together, and play a huge role in animation. The more I understand how the various relationships in animation affect the emotion of the end product, the more effective I believe I'll be as an animator.

* This also applies to many other things, like photography, music, painting, filmmaking in general, etc. I'm simply focusing on animation for this entry, so please forgive the ommission of these other forms of expression.