Tips and Tricks
Our Very own Stephen Melagrano will be at Cartoon Connection Canada in Quebec City on October 29th and will be giving a master class with Mini Pixel and iAnimate.net. You can check out the press release below for more info:
DreamWorks Animation and Blizzard Entertainment will take part in Quebec City’s Mini Pixel new master classes in animation. The side event will be held at the Loews Hôtel Le Concorde on Tuesday, October 29 during Cartoon Connection Canada, an international convention of animation and video game professionals.
Three master classes are scheduled for October 29: David Lesperance (Microsoft, Blizzard Entertainment, Valve Corporation) from 9 a.m. to 12 noon in the Lismer-Leduc-Fortin Room, Ken Fountain (DreamWorks Animation, SplatFrog.com, iAnimate Workshops) from 2 p.m. to 3: 30 p.m. in the Suzor-Côté-Krieghoff Room, a master class on using attitudes and body language to interpret, simplify and caricaturize complex expressions in an animated character, and Stephen Melagrano (Blue Sky Studios, DreamWorks Animation, Sony Pictures, Speakingofanimation.com) from 4 p.m. to 5: 30 p.m. in the Suzor- Côté-Krieghoff Room, a discussion on the process of creating an animated character, from its body mechanics to its emotional credibility.
“We’re really pleased to bring these speakers to Quebec City. This is a great opportunity for animation professionals to gain in-depth knowledge and added experience,” says Louis Leclerc, general manger of Pixel Québec and co- organizer of Cartoon Connection Canada.
To register for these master classes or for more details, click here.
Stephen also recently did an interview with Rhino House about what he thinks reference is and finding inspiration for your work:
I was going over the importance of weight and materials with my class this week and it reminded me of some really great notes I had read when I was in school. Thankfully the wonderful people of SIGGRAPH still have them on their site. These are notes from a presentation John Lasseter gave at SIGGRAPH back in 1994. I love how these notes are 17 years old and they are as true and relevant today as they were back then. I remembered them for the part on weight and size, but there is so much more. If you are a student learning animation, bookmark this link. For everyone else, enjoy the read…it’s an oldie but goodie!!
There’s been a trend developing over the past few years of showing off a side-by-side comparison of the various stages of your animation work. Video Reference, Blocking, Spline, Final, or any combination therein.
We’ve seen this trend among students and professionals alike, and we’d like to describe what it feels like to view them.
It’s a real drag.
For a number of reasons. First, let’s examine the possible viewer reactions:
1) Your animation lacks (but your reference is awesome)
Seeing someone who is talented as an actor is inspiring, and their failure to communicate those ideas through animation becomes frustrating. Of course this shows great potential, but it also means you have a lot to work on before you can get your ideas to connect.
2) Your animation lacks (because your reference lacks)
This is the most common result. It becomes clear why we have trouble believing or connecting with your character. If you start with poor reference it’s hard to end up with anything but poor results. Many people are under the impression that good animation consists mainly of smooth, flourishy movement (and lots of it). Respectfully, we’d like to disagree and state that good animation consists of a believable performance that the audience can connect with.
3) Your animation is good (but your reference is not)
This is rare, but it happens. You wonder how the hell they got the animation to look good when their reference is not supporting it. Don’t ever leave your audience scratching their heads.
4) Your animation is good (but you missed nuance)
The animation would have stood just fine by itself. But place it right next to the reference and suddenly it’s clear how much nuance you failed to see in your reference.
You may have noticed there isn’t a single overall positive reaction to seeing comparisons of your reference and your animation. This is purposeful. If you are making a demo reel let your work speak for itself – it’s really as simple as that.
“…But it’s educational!”
Showing the (perceived) ‘order of operations’ for creating animation provides very little educational substance. It is tantamount to a video of someone playing a piano comped next to sheet music. “…And that’s how you write a symphony.”
Animating a shot – similar to writing a symphony – is a constant ‘back and forth’ process full of experimentation, exploration, nixed ideas, and purposeful decisions at every moment. Showing a start, middle, and end completely ignores the ‘WHY’ – the educational part. Why was the decision made to put a crescendo there? Why was that idea cut? Why was that part modified? Why were only parts of the reference utilized and not others?
What was it failing to do originally, and why is it more successful now?
Answering these questions is paramount. The progress comparison cannot stand alone as a piece of educational material. However, when coupled with critical thinking the viewer can actually learn something about the animation process.
example | example | example | example
So here’s a general rule. If it’s a reel – let the finished product speak for itself. If it’s to teach others – then break down the process and articulate what choices were made and why. You will learn more by dissecting what you did, and so will your audience.
In future posts we’ll discuss the process of actually pinpointing usable reference, and how to utilize it effectively.
|Jacob, Ben, and Steve
When you get up in front of the camera to act out your ideas you need to remember to let it flow naturally. The more you think about what you’re doing, the worse it gets. Whether you are acting out an intense dramatic moment or merely walking from one side of the room to the other, you can’t over-think your actions. Over-thinking makes it feel forced.
If you start your animation from bad reference footage, guess what you’ll end up with. Bad animation.
Here is an awesome clip from 30 Rock of a character trying to act in front of a camera and over-thinking every move he makes.
He concentrates so hard on the physical actions he performs he forgets how to do them. Suddenly he doesn’t remember the natural way to walk. He doesn’t know what to do with his hands when delivering dialogue (another common problem we see in animation). As a solution, he wants to hold a prop (something we go to as well) and then comically ends up with a prop in each hand! HA.
If there is enough interest we can dive into this topic further, but mostly this was just an excuse to show this clip from 30-Rock.