Cameron Fielding - Using reference

iAnimate Intructor and Sr. Animator over at Valve gave a lecture up at the Pixel Challenge a little while back about Using Reference and they just posted it.

Cameron Fielding - Using reference from iAnimate on Vimeo.

Check out Cameron's Blog FLIP as well.

Enjoy!
JP

Timing in Animation: FLIP

Hey Everybody

Saw this great post on FLIP about drawing out your timing. Pretty amazing and simplified process. I wont be able to explain it better so here ya go.

Drawing your Timing

Check it out! Amazing insight!
JP

Tracking Arcs in Animation

Quick link to a great blog called Flip. One of the workflows down in the Concepts of The Day list on the side here has a link to this blog as well. Anyways he has a great post about Tracking Arcs....not just any arcs either. He compares how arcs are really choppy in lots of real life situations. Plenty of examples too.

 

fliponline

The post is titled: Perfect Imperfection
Lots of other great posts so look around and enjoy
JP

FLIP, Tests and Dean Yeagle

The new issue of Flip (#34) is out. As always, it's an interesting read. For me, the highlights of this issue are a round table of professionals giving their views on art tests for employment and a feature on Dean Yeagle.

Wild Life

The new issue of Flip is out, featuring an interview with Howard Baker, a director who does straight-to-DVD features for budgets as low as $3 million. That's an area that's very interesting to me and one that I think has potential for different kinds of films. However, the real surprise was his reel. At 7:50, you can see a clip from the canceled Disney feature Wild Life. I have no idea how much of this feature actually exists, but this may be all you're ever likely to see of it.

The Filmation Paradoxes

The new issue of Flip is online and the lead article is a look back at Filmation by three artists who worked there: Tom Sito, Bronwen Barry and Tom Mazzocco. The piece highlights two paradoxes that are common within the animation industry.

The first is that it's possible to work at a studio that has a comfortable environment and a friendly crew while turning out work that is, to put it charitably, of little value. Filmation is best remembered for shows like He-Man, She-ra and Fat Albert and the Cosby Kids. While those series may produce a nostalgic glow for a generation of children, a dispassionate look at them shows them to be low budget formula cartoons. While artists would prefer to work on good projects, the truth is that a comfortable environment is perhaps as valuable as the quality of the finished work when the project takes up most of an artist's waking hours.

The other paradox is that artists tend to be judged by the projects they work on, and that's a false standard. A great many of the Filmation crew migrated to Disney, where they were major contributors to the success of The Little Mermaid and Beauty and the Beast. While resume credits are a handy way to pigeon-hole someone, they don't accurately reflect the skills of an artist. The intelligence and taste of the management, the size of the budget and the length of the schedule have more to do with the results on screen than the abilities of the crew.