Re:vitalizing Animation Through Virtual Studios
One of the challenges of working virtually, nonetheless, is keeping everyone productive. Producer Kellie-Bea Cooper emphasizes that a virtual studio can only thrive in an atmosphere of self-motivation, professionalism, communication and managerial trust.
Cooper comments, "Professionalism is a big factor in working virtually. Working alone can create great focus, but it can also create perfectionism. Virtual workers still need to respectfully take directions and mind deadlines."
Director Chris Bailey says, "To make things interesting for the artists involved, I tried to keep my direction broad so that they could inject some of themselves into the work, or at least more of themselves than usually allowed at the major studios. In general, I have found that people do better work if not directed too tightly." He adds, "Besides, it's more exciting to be surprised with what people come up with than for everyone to just be extensions of my hands."
Necessity is indeed the mother of invention. Cooper continues, "In addition to the server infrastructure, we developed a number of custom tools for Maya in MEL that assisted in packaging up scene files and all of their components (such as textures, and animation files) for uploading to the File Depot. Our MEL scripts helped to make sure that all of the pieces needed to render a shot were delivered to the server as one package."
Major Damage, in his 3D superhero glory. ™ and © Chris Bailey, 2001. All rights reserved.
Whatever the hardware or software needs for the production, whether it is scanning, pencil testing, editing, compositing, ink and painting, video conferencing, or otherwise, a lot of the enabling technologies are available for relatively little or no expense. There are limitations, of course, but it is nothing that proper communication and effective production management cannot surmount.
There already exist database and tracking software (e.g., www.alienbrain.com), or applications to whiteboard one's work on a shared desktop during real-time meetings (e.g., www.microsoft.com/netmeeting). Or one can build simpler versions of these programs.
During the coming years, as virtual pipeline software and processes become more user-friendly and function more smoothly, we can expect more elaborate and ambitious productions. Producer Kellie-Bea Cooper says, "Now that 'the damage is done,' I'd like to begin work on a CGI television series or feature as a virtual studio. I have begun mapping out these two productions and I'm tremendously excited about the possibilities."
Cooper observes, "Probably the most difficult factor for managers to accept is having trust among the working staff; meaning, the ability to put full responsibility back into the workers' hands without second guessing or middle managing them. This trust factor establishes a sense of worth and accomplishment for everyone on the project. On Major Damage, the constant stream of email communication, plus the online shot status reports, helped to keep us updated on the progress of scenes. This open and trusting tracking and management system worked very well."
Development artwork for Major Damage by Alan Battino. View a short clip from the film now. ™ and © Chris Bailey, 2001. All rights reserved.
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This could not possibly have been more hpelful!
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