If you are talking California...you have to consider Art Center College of Design in Pasadena.
They have many, many people in the animation industry...and they don't even have an animation major. They just teach a very strong art foundation- meaning drawing and painting.
I would say they have at least as many as Cal Arts if not more...
Jade8lifesaver,
I just recently visited USC to check out their MFA Animation program. Their facilities seemed nice enough from what I saw. I was surprised, however, to see how largely their sample DVD of student work was comprised of experimental (and I mean very experimental) animation, with very little 3D animation like you would see at some of the other schools you mentioned. Judging from that and their curriculum which you can see online, it seems that their program isn't very 3D/cutting-edge-technology focused. Although someone who has first-hand knowledge from their program might know otherwise.
Also, you said you got into CalArts for Character Animation- was that for BFA or MFA? cause I thought they didn't have an MFA for Character.
The best way to go is to contact the school. However, since I'm currently in the MFA program (online), here's what I do know:
-The MFA program is either 6 or 7 semesters, depending on your experience level when you enter the program. The school offers three full-length semesters every year, as well as two "intersession" semesters which are highly accellerated (2 1/2 weeks instead of 15).
-There are a significant amount of drawing-related classes in the program, as well as drawing assignments in "non-drawing" classes. For example, I just finished a required figure drawing class that was quite demanding, with the teacher setting very high standards for grading. In addition, there storyboarding classes, a choice of two intro to animation classes that both contain drawing segments, etc. You will definitely be doing some drawing during the course of the program.
-Financial aide is from typical sources (FAFSA loans, state grants, scholarships), and there is abundant information on their website regarding how to apply for aide.
The AAU website contains all this info and more (the only exception being the first semester waiver for work experience, which they handle on a case-by-case basis). Spend some time looking around there; I think you'll find what you need to know.
Is that the same as Academy of Art University? Cause I have it on good authority that's not really a good school.
My friend who went there (and left after a year for CalArts's character animation) said it's got a fine 3D program -- but not so great if you want hardcore traditional animation.
Um, pretty sure you didn't say anything offensive... just spoke the truth! Your absolutely right about needing to know the software as well. Now there are exceptions to every rule, but I just thought that went without saying. I know for a fact you have a lot more industry experiance then a lot of the people on this forum.
But Yea Rob, Alex, and I all ran in the same group.
As for at the time of the interview, my reel only had the little cootie guy (the blue character, although he wasn't textured at the time) running around, and some 2d.
And as for gainesville, I BLEED orange and blue, your brother and I were probably at the same celebrations for the NCAA final 4!
I'm the director of Max the Mutt and want to make sure you are all aware of our program. Please check the web site, www.maxthemutt.com. We were founded 10 years ago by artists and animators, have a curriculum based on the old Warner Bros and Disney guidelines to which we've added computer courses.As far as I can tell we teach more drawing than most schools. We have been around long enough now to have grads who are animation directors, as well as animators, character designers and storyboard artists.Max grads at are at most top Canadian companies, as well as Electronic Arts , and Sony Imageworks. For a small school with small graduating classes, the success rate of our students is impressive.
Check the faculty page! Our faculty is ma up of top working professionals.We have a mandate to be available to talent: our tuition is lower than other private schools and is very fair to US and international students. We can't advertise much because we want to keep tuition affordable, but the internet and word of mouth are working for us. We have already received many inquiries for '08 and will start to accept early applications soon. For '07, we have 4 seats remaining and have applications under consideration. We will make final decisions and stop accepting applications soon. If you are looking for a school, check us out quickly. Call us at 1-877-486-MUTT, or email admissions@maxthemutt.com.
At one of SCAD's Film Festivals, I remember when Larry asked one of the executives at Nickelodeon about drawing and how important it was. I gathered that Larry asked that question to get the exec to say that drawing was very important so all the students at SCAD could hear it.
The exec didn't get the hint. He actually said to everyone that drawing ability wasn't that important.
Animators at big studios that have posted in the Cafe have said that drawing wasn't that important.
I don't know about boulders in the void.... It really makes me think of Star Wars. Drawing skill in animators is the Jedi side of the Force. Yoda said it best about the "Dark Side".... "its quicker, more seductive". And when you have these influential people "perpetuating the lie"... It does a great inservice.
I agree with Ken that a student must take responsibility for their education and meet it halfway. You could say that "Meet your education halfway" was the mantra for Classical Animation Society for a long time. I met a lot of students at SCAD that figured that the process was like in that movie The Matrix... somehow, they'll get programmed with everything they'll need to know and suddenly know Kung Fu. If there's someone reading all this thinking that, I hope you've gotten the hint that its not that way.
I'd like to add to that... Larry hinted towards it. Your education never ends. There's always a new genre of art to learn to add to your skills. There's always new technology to translate your drawing ability into. So you need to get used to the idea that you're never going to stop learning. Look at Chuck Jones. He was working on Thomas Timberwolf right before he passed, and that was an awesome little webtoon.
Now, the chiming in being said...
I can name names of fantastically talented and award winning animators that have attended SCAD and other schools that aren't on Larry's list. I wouldn't say that they are exceptions to the rule... I'd say that they are just talented people who took hold of their education, worked hard on their skill sets and are reaping the benefits.
I'm not a school salesman... and I don't want to scare anyone. I'm saying... Listen to Ken, Larry and Max. Don't be scared (or clench your butt? haha), be realistic. Be aware of the 80/20 rule, and fight to be one of the 20%. Take what they're saying as your sword and shield. Be prepared. Or don't. It's really up to you.
Glad to hear you met Alex and Rob-good people and VERY dedicated to the artform.
My son is getting married this summer in Laguna beach. I am hoping to have a little reunion with a whole bunch of former students.
Boy, am I glad SIGGRAPH is in Boston this year...and not L.A.
I do agree that folks need to experience other REAL festivals besides SIGGRAPH. Save your money and fly to Annecy the beginning of June- you will be glad you did.... (been to SIGGRAPH 5 or 6 times and to Annecy 3 times- Annecy wins in MY book....)...or try Ottawa
As I said, I really respect the work coming out of Ringling and kudos to the 3D teachers for getting them ready....
Matt- had dinner with Glenn- told him of your recent accomplishments.
He was pleased.
I’ve been looking for a distance leaning course on 2d computer animation, but have had not much success. The only sites I’ve found hove 2d as an almost secondary consideration. Any ideas? I can draw, paint (in various mediums) and just wish someone had suggested animation to me when I was younger as a career move.
These days I’d love to devote myself 24/7 but I have a mortgage, husband, kids, job (that pays the bills) etc. Also I’m not a spring chicken at 47 and I don’t have much spare cash. I’m not looking for a career, but would like to have decent criticism on what I’m doing, even if my work is pulled apart frame by frame. I can stand by my drawing but it’s the technical things I need to learn.
I’ve dabbled in 3d (made Anim8or bird walk in two weeks of spare time, made Antics characters stick their fingers up their noses) but I’m more interested in 2d.
When I say I don’t want a career I mean I don’t want to work for anyone – I’m a total control freak and want to be in command of every aspect of my animations. If it makes money – fine, if not, that’s fine too. I have ideas oozing out of my brain and am only trusting my ability in art to pull them off. I go to sleep dreaming scenes and effects.
okay so, i want to get into animation at some point of time, but right now my parents want me to do architecture..or engineering first.
I am not sure whether my country has any good animation colleges either,
can architecture and animation ever go hand-in-hand? i mean, is it a good idea to do architecture first then switch to animation?
oh geeez! He remembered me? I felt like no talent scum in his presence! ;-) His class was amazing, not to mention how incredibly nice he and his wife is! Another notch in the SCAD tallie! Woop woop!
Thanks Ape. Too bad, I spent 16k on first year if it turns out a waste. It also becomes confusing how Financial aid will work considering they want you progressing 30 credits each year - freshmen, sophmore, junior senior. If they toss out a chunk of that, I'm extremely worried about what happens to financial aid. Also, taking a year off and hoping to make it into a school that will consider me a freshman IF my portfolio is accepted.. it's a big gamble. I'm looking at other schools still open for fall 06 and seeing if a transfer to their school's animation department would be less painful, but I really want to go to CalArts. :(
I’m at the point where I need to choose a school. I have been admitted into Savannah and University of California Davis; both are on Pixar’s school list.
Have you looked into Ringling? The work there seems to be exemplary! Deadline might be late though. Not sure.....:)
Okay, you have GOT to be a freshman, because I really thought animators who thought that way were extinct.
Listen.... a studio would rather hire an animator with a solid background in traditional skills to switch to 3D than a technical master in... say, Maya.
Where did you hear that 50% stuff? ANOTHER freshman?
C'mon Animation Mentor guys... back me up here!
Cartoonchaos- You need to re-read my post. I said "if they are looking at
two candidates whose demo reels are equally strong". Meaning that they
are equally good animators. I did not say a good traditional animator and a
crappy 3D animator. The "50% stuff" has been told to me by multiple studios
on many occasions for many years (hint- I am not a Freshman).
If you think that Ringling is all about software and machines, you need to take
a look at the work. For that matter, a SCAD grad on this thread even said
that it was SCAD who was more about the technical side of things. Ringling's
emphasis is on animation skills and storytelling.
ScatteredLogical- 10 in the film industry yes, but more than that in character
animation. Remember that the game companies need animators too.
Larry- You like Annecy over Siggraph because you are a 2D guy. Siggraph is
important to recent college graduates because of the exposure it offers to
recruiters who are hiring. Annecy does not offer that. I agree that the judging
is all over the road these days. Come by the Ringling booth at Siggraph and
see what I mean.
OK... we have about 5 pages of stuff here now, and I am still waiting for the
answer to my question...
How many graduates were in the SCAD class of '05, and how many had jobs
(signed contracts) in the industry before graduation?
Post your stats and let's settle the original question on this thread.
Let's see which school gives a student the greatest odds of getting started in
the industry right out of school. And yes, AnimatedApe, Ringling grads are
indeed being hired to be character animators right out of school.
I just disagree that pure stats is a fair comparison. (and wouldn't know where to get them anyway) The two schools are very different. You know SCAD is much larger and accepts a lot more people. (I think our computer art department alone is larger than all of ringling) That means there is a lot of people that shouldn't be in art school, but there are also a lot of people who didn't have an opportunity to create portfolio before college, people like me. But that doesn't mean there isn't a great program in place and students aren't placing well in the industry. All of my personal friends had jobs before graduation or very shortly after, as animators or their respective specialization, in everything from feature to gaming to television.
Also I don't know about that other SCAD grad, but MY experience at SCAD was not overly technical and had a TON of emphasis on story telling! My last four quarters were almost entirely dedicated to that.
Again, itis not the school that makes the animator.
Someone asked a question a few days ago about the backgrounds of the instructors at Ringling. It's our spring break so I've just now found the time to write a quick reply, but I can't find the post to quote it.
Anyway, Ringling's animation instructors come from lots of studios, but primarily Disney Feature, Pixar, DreamWorks, BlueSky, ReelFX... Some also taught with AnimationMentor before hand.
They're all insanely talented and extremely inspiring.
Thanks for the kind words Kee! Been a blast working with ya so far. You certainly didn't say anything offensive at all so don't fret...after all you certainly have the experience to back you up with what you say.
Jim...as Kee and Matt mentioned I did go to SCAD and responding to your latest post I had multiple job offers and actually got to CHOOSE where I wanted to work. If it's stats you are looking for our little group of friends whom all worked together from day one all found work coming right out of school.
However, our little group also spent days and nights working passionatley on our animation fully knowing we would be competing against each other for work itself.
Both schools will give you the foundation and opportunity to pursue what you want...and both can make you equally successful. It all comes down to what you put into it.
Take your passion and make it happen...the 10 or so friends of ours including myself that all pushed each other and moulded our talents with what foundations teachers like Larry L. gave us enabled us all to either have signed contracts before graduation or find work within a month afterwards.
Thanks for making my point for me. Enjoy Glenn Vilppu this week- he is terrific!!!!
CC,
Thanks- for the CAS - anniversary - but two years ago some weanies changed the name to the "Contemporary" Animation Society. The last time it was "Classical" was when Missy Firster was prez- opps, she and fellow CASian Charlie Roode are to be hitched this weekend...
Soooo... you're saying that it doesn't matter where you go to school, as long
as you work hard? No way! I think the stats are a decent way to measure the
effectiveness of a program. After all, most students are in school to get a
good job. There must be a way to show that one is more effective than
another at doing that. There is no way they are exactly equal. How would
you suggest we decide... surely it isn't by how many people who should not
be in art school each is able to convert into a viable professional!
If you have that many more students than Ringling, then you should be
placing more grads than they do into the profession. Let's take a look at
the math and see which school gives an incoming Freshman the best odds of
being hired into the industry upon graduation?
Yea, there is a way, talking to grads and finding out which ones meet your needs. (Did I also mention I got to spend a quarter studying art in Lacoste France?) I started from nothing, I got a great job, I'm happy, go bees! :D
Bottom line is this: They are both great schools. I'm certainly not trying to say one is better then the other. Ringling didn't meet my needs... and basing a decision on a school requires a lot of different considerations. Thats it, I'm out! :cool:
Well, at age 47, you doubtlessly know that discpline doesn't come in a can....
Discipline is really a choice, directed by focus and held to by committment.
The tools you are wanting can be found for not a lot of money--I'd say you can get the materials that would be equivilant to a $10,000 animation school, for about $500.
With some crafty "shopping" I might add.
There's a few books, some software and whole lotta free on-line articles and tutorials that can be had that can give you everything you need to do what you want.
But the "doing" will have to come from within.
I can tell you with all confidence that you do NOT need to enroll in formal training to do this kind of craft at a professional or even competent level--its just money that you do not need to spend if you plan your self-education carefully.
The tools and resources that exist today are excellent, a full order of magnitude greater than when I began in the animation biz, so many years ago.
Set aside time to do this work, tell the family you love them dearly, pat 'em on the bum and tell them to scoot.
Then get to work for an hour or so a day--or whatever you can spare.
Success in any endeavour is processional and progressive--like compound savings, it builds upon itself in a exponential manner.
The variable here........the ONLY contentious variable--- is the intensity of the focus you bring to the task.
The more intense you apply yourself to learning the processes, the more and greater results you'll accquire.
The trick is.........navigating the time in the day and the turmoil of family life to bring that focus to bear.
Its do-able.
—
"We all grow older, we do not have to grow up"--Archie Goodwin ( 1937-1998)
I'm not sure, but I don't think this animation school was mentioned:
School of Visual Arts
New York, NY USA www.schoolofvisualarts.edu
—
Hi, be sure to check out my blog! A few thing there, and I'll also be putting some of my work (pictures and short carttons) there too in the future: http://ukracattack.blogspot.com:)
I am also making a Flash animated cartoon that I plan to air on it's website in Fall 2008. It's called Tednut and it's about an personified peanut named Ted and his friend Kernal, and their basic adventures in their town of Sleepy Oaks, New York: http://tednut.sampasite.com:D
Hi, I haven't been on in a while. But I felt the need to post a short thread about my experiences at the Vancouver Film School's classic animation program.
They have recently boosted class sizes from 6 or 7 per class to about 20. The former department head and head instructor have just gotten the axe for resisting the new class sizes. Their replacements have had the new class sizes mandated on to them. Everyone seems flustered all the time, and there are lots of secretive meetings between the faculty and the administration.
Most of the teachers are conscientious about trying to get to everybody. At least one-- Peter-- has responded to the new class size by playing favorites in a very unsubtle way.
I have no previous training or experience in animation, and didn't pretend to when applying. The drawings, etc, I submitted were my own work, and a reasonable example of my skill level.
They had no trouble with accepting me and my student loan. But the teaching system in place depends almost entirely on one-on-one with the teachers. There are no demonstrations of techniques to the class as a whole. The assignments are given out in the form of 3 or 4 page xeroxes. There is about twenty minutes of verbal explanation, then we start working. If we want help from the teacher, we put our names up on a dry erase board. Who ever is teaching that class then comes to answer your question.
Depending on your skill level, this can mean fifteen minutes of "You're off model!" in front of a line tester. Or 45 min to an hour with the teacher answering questions, drawing for the student, etc.
I would advise prospective classic animation students to stay away from VFS unless you already have a pretty high skill level. It's going through some rather violent changes, and frankly I believe I could have learned more about animating at that Brian Lemay thing down in LA. And it would've been two months without a job, and $800 tuition instead of a year and $27,000.
Acck, that's a pity. A real shame actually.
I'm saddened to hear your experience has become horrible.
Truth be told, VFS has been suffering class size issues for over a decade. When I was teaching there (starting in around 1995--stopped in 2005) I had many classes with 20 students, and very few with less than 12.
The reasons are simple: the school is a business and being such its primary goal is profit.
20 bodies in a room makes them money, 12 does not--never mind that managing 20 students, their needs and all that homework is exhausting to an instructor.
The pleas to reduce class sizes, hire TA's (to ASSIST the instructor, not teach the bloody class) and NOT cut instruction time often fell on deaf ears--although it would depend on things like who the program coordinators were.
If they had put a half dozen of us on the payroll--a weekly salary instead of part-time status--there would have been SIX highly skilled instructors floating around about to help students at pretty much any time. But it was never seen in that light--would have cost too much. Pffft.
There are people there that give a shit about the place. But they've been effectively marginalized and their voices reduced to nothing. As stated, even one of their star hires (as program head) was likely shown the door for voicing an opinion that went against managment. They'd love a big name running the programs.......but not someone that gets too big for them to handle.
VFS, sadly, is a HIGHLY politicized school. The mandate of profit before service taints the place, and has for a very long time. Bureaucracy has sacked the place, and there's unnecessary layers of it. Being hired as an instructor was once very simple--it was via word of mouth. If you were known to the staff that was working there, you were likely qualified to teach there. Nowadays, just trying to walk in the door is a pain in the ass.
It seems like those on staff are constantly running with their heads ducked--as if their salaries could be axed at any moment....
Hell, I understand that's already happened.
They have had an excellent program in the past--the materials, tools and staff are there. The incentive on the part of management is not.
I have very fond memories of teaching there, of the students, staff and colleagues there, but I could never work there again until things changed.
—
"We all grow older, we do not have to grow up"--Archie Goodwin ( 1937-1998)
Ringling even has an insrtuctor exchange with a school from the Northeast that specializes in drawing.
The Ringling program is smaller - but their ratio of folks working as animators at the highest levels is far, far, far greater.
[/quote]
I know that if you graduate from Ringling fine arts/ you've given a free ride with tuition for an MFA at a northern school. What's the school in the Northeast that specializes in drawing? First I've heard of this??? :eek:
Not so much a "school" question, but....I'm looking for a mentor/producer type figure to help me with my showreel. 2D hand-drawn-frame-by-frame, mainly digital. I want to get into feature animation, so ideally someone who's currently employed in the field. Any suggestions? (I'm definitely happy to pay for their time)
spandana: I studied architecture and practised for several years in the field while saving up enough to study animation. Architecture is one of the longest, most difficult courses you can do, but it can give you a good grounding in design. Learning to observe your environment, considering your end user's experience, being meticulously playful, and taking very blunt criticism after 3 days without sleep ....all these translate well to animation :D That said, architecture isn't the most stable job market, and maybe you're better off doing something less demanding and honing your artistic skills in your "own" time.
The simple truth is, they just can't effectively teach 20 students in a 1 on 1 basis. They need to demonstrate the techniques needed to complete an assignment in front of the whole class-- probably via a video camera-- for at least an hour. Just take a few key drawings through their paces: line of action, adding on volumes, structure, detail... Then the markers need to concentrate on seeing whether the student absorbed what they were taught.
As it is, we aren't really taught much of anything. We're supposed to learn by osmosis from the assignments themselves! The markers (who for the most part are anonymous) grade us on a "professional level". And it takes four to eight weeks to get anything marked and returned. When they come back, they have a few words scrawled on them like "Use structure." When? Where? I spent a couple of terms trying to draw the center lines, eyes, etc, on every drawing as I was animating. Did none of the teachers see this? Is a failing mark in itself supposed to teach you something?
I once asked Peter how it's possible to loosen up and stay on model at the same time, as I'd gotten both comments on a couple of assignments in a row. He shrugged and said, "It's not a logical process. It doesn't make any sense. I can't explain it." That, I believe, is a direct quote. And that's all he said on the issue.
About two weeks later, I bought Animating the Looney Tunes Way. Really good book-- aimed at teenagers! And right there were pictures of lines of action with ovals for the volumes of the heads, torso, etc. And it became clear. You use a model sheet or your first drawing, put it on your light box, and just keep the proportions accurate so they CAN be put on model when you're satisfied with how they're moving. Two pages of quick little illustrations that took. But Peter "can't explain" it. Not to me, anyway.
Now I'm three months from graduation and everything in my "demo reel" looks like CRAP!! Why?? Most of my class has actually taken animation courses before, and many of them have worked freelance for a number of years. Why spend the most time with the students who need your help the least?
I've done fine in every class where they actually give you the ammunition you need to complete the assignments. Life drawing, perspective, colour theory, etc. have been great. I also actually like and respect most of the instructors.
But the animation classes-- the backbone of the course-- have been a complete mess. I've struggled for months with the same misconceptions I had about animation before enrolling. Could the markers not see that I was skipping entire steps in the process because I didn't know they were there??
Mostly by buying books (more debt, thanks!) and looking over other students' shoulders, I've managed to pick up a lot of tricks in the last couple of months. And now, as I work on my final film, I'm basically teaching myself character animation as I go.
Not so much a "school" question, but....I'm looking for a mentor/producer type figure to help me with my showreel. 2D hand-drawn-frame-by-frame, mainly digital. I want to get into feature animation, so ideally someone who's currently employed in the field. Any suggestions? (I'm definitely happy to pay for their time)
.
I remember seeing a post that was about a portfolio preparation service. Not sure but I think portfolio was in their title.
It might be a good idea to check with your closes university, their art department must have a few business cards that cover this sort of thing.
Even though you don't to begin paying, in most cases, until 6 months after you graduate...THE INTEREST BEGINS AS SOON AS YOU SIGN ON THE DOTTED LINE...so all during school the loan accumulates interest.
I think government loans are a bit different...
Yes, some are. If you get a subsidized FAFSA loan, the interest doesn't start accruing until you graduate or drop below half-time status (usually less than 6 units a semester). Other government loans, including unsubsidized FAFSA, do start accruing interest as soon as the loan is granted.
How the heck did that old, pointless SIGGRAPH vs. Annecy discussion end up in here? Oh...I see... :rolleyes:
Since we're discussing comparisons that have no relevance to the topic at hand - which is better, western animation or anime? :D
Anime is not animation... it's a slideshow. Before we let this thread slip into a
pointless 2D vs. 3D discussion, I agree with DSB as to getting the topic back
on track.
If a larger percentage of successful results doesn't make one more effective
than the other, then what does?
I am a senior Computer Animation major at Ringling. Most everyone thus far has commented on the high quality of the program, so instead I will give your the reasons I chose RSAD over SCAD:
- Ciriculum. I can't say for sure if this is still true, but when I was looking at thier programs, I notices that SCAD had their program broken into two majors: "Sequencial Art" and "Character Animation". Judging by the classes and work, Sequencial Art seemed to be pre-production and concept design (storyboarding, character and environment design, script, etc.). Ringling's program includes that in their Computer Animation major. At the time, I didn't know which side I wanted to go into, so that was the main deciding factor for me. Additionally, having gone through the program and talked to companies, even if you "just want to animate", companies perfer well-rounded animators who understand the other parts of the pipeline.
- Size. Ringling was much smaller, and for me personally, that was appealing.
Because the SCAD program is so large it does give MORE folks a chance... AND they have a good number of folks coming out and going right into the industry as character animators. SCAD does offer more options like 2D and Stop Motion (Hal Miles work with Ray H.), Flash and experimental animation. We are not honed in on just one aspect but several...
Most Festivals including Annecy and Ottawa have job fairs - with all the majors- including Pixar present. Okay- so maybe the gaming companies are well represented- but these are FILM Festivals (where folks make shorts). I find the atomspheres great and more condusive to civilized life. And - it's not a 2D vs 3D thing- think in broader terms.
Thanks.
I really do respect the Ringling program...I hear they have more drawing in the base program- I like that...always will.
hey,
going to tisch would be great if they didnt rape you for tuition.
I love NYC but i wouldnt want to go to NYU. Doesn't seem worth the years of debt you're putting yourself into.
How's the Art Academy of San Francisco?
Actually, what's probably the best school with animation and film majors in Cali?
Best, meaning, you actually get some college expiriences in between the thousands of drawings you're gonna be doing. haha
I’m at the point where I need to choose a school. I have been admitted into Savannah and University of California Davis; both are on Pixar’s school list.
Have you looked into Ringling? The work there seems to be exemplary! Deadline might be late though. Not sure.....:)
Yea, Ringling's deadline is long past for this upcoming semester... Glad to see you like our school though!
I just got back from the 2006 CA Thesis show. Wow, really impressive. Keep your eye open for their work on the website. (Not sure when they get updated).
1 Timothy 4:12 - "Don't let anyone look down on you because you are young, but set an example for the believers in speech, in life, in love, in faith and in purity."
Anyone here from Sheridan or Seneca? I have applied to both of these for Computer Animation. If I get accepted (fingers crossed), which one would you recomend?
Wow, its been a long time since I’ve posted in this thread! Been a long time since I’ve read it, to be honest…
I’ve been reading some, and I’ve noticed how some folks might be put off by SCAD or Ringling based on that old back-and-forth here…
I’ll say this: I apologize again for that and promise that passion will not stand before reason with me again. I’ll also say that you shouldn’t base your final decisions on ranting and raving. Go to SCAD. Go to Ringling. See their facilities. Ask questions. If you’re too far away to do that (like I was), get the school’s DVDs and email folks. At the end of the day, you need the talent to get out there.
I’m also glad to see that my back-and-forth isn’t the only one! Catalyze passion.
Because the SCAD program is so large it does give MORE folks a chance... AND they have a good number of folks coming out and going right into the industry as character animators. SCAD does offer more options like 2D and Stop Motion (Hal Miles work with Ray H.), Flash and experimental animation. We are not honed in on just one aspect but several...
That makes sense... so with all of those extra students and all of those extra
opportunities, then the SCAD class of '05 should have many more grads placed
than the Ringling program. Can we see those numbers?
Hello
If you are talking California...you have to consider Art Center College of Design in Pasadena.
They have many, many people in the animation industry...and they don't even have an animation major. They just teach a very strong art foundation- meaning drawing and painting.
I would say they have at least as many as Cal Arts if not more...
Thanks.
Larry
web site
http://tooninst[URL=http://tooninstitute.awn.com]itute.awn.com
[/URL]blog:
[U]http://www.awm.com/blogs/always-animated
[/U] email:
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Jade8lifesaver,
I just recently visited USC to check out their MFA Animation program. Their facilities seemed nice enough from what I saw. I was surprised, however, to see how largely their sample DVD of student work was comprised of experimental (and I mean very experimental) animation, with very little 3D animation like you would see at some of the other schools you mentioned. Judging from that and their curriculum which you can see online, it seems that their program isn't very 3D/cutting-edge-technology focused. Although someone who has first-hand knowledge from their program might know otherwise.
Also, you said you got into CalArts for Character Animation- was that for BFA or MFA? cause I thought they didn't have an MFA for Character.
The best way to go is to contact the school. However, since I'm currently in the MFA program (online), here's what I do know:
-The MFA program is either 6 or 7 semesters, depending on your experience level when you enter the program. The school offers three full-length semesters every year, as well as two "intersession" semesters which are highly accellerated (2 1/2 weeks instead of 15).
-There are a significant amount of drawing-related classes in the program, as well as drawing assignments in "non-drawing" classes. For example, I just finished a required figure drawing class that was quite demanding, with the teacher setting very high standards for grading. In addition, there storyboarding classes, a choice of two intro to animation classes that both contain drawing segments, etc. You will definitely be doing some drawing during the course of the program.
-Financial aide is from typical sources (FAFSA loans, state grants, scholarships), and there is abundant information on their website regarding how to apply for aide.
The AAU website contains all this info and more (the only exception being the first semester waiver for work experience, which they handle on a case-by-case basis). Spend some time looking around there; I think you'll find what you need to know.
My friend who went there (and left after a year for CalArts's character animation) said it's got a fine 3D program -- but not so great if you want hardcore traditional animation.
Larry: You said you were leaving SCAD. Is this just as sabbatical, return to freelance, Ireland or going artistic walkabout?
Kee,
Um, pretty sure you didn't say anything offensive... just spoke the truth! Your absolutely right about needing to know the software as well. Now there are exceptions to every rule, but I just thought that went without saying. I know for a fact you have a lot more industry experiance then a lot of the people on this forum.
But Yea Rob, Alex, and I all ran in the same group.
As for at the time of the interview, my reel only had the little cootie guy (the blue character, although he wasn't textured at the time) running around, and some 2d.
And as for gainesville, I BLEED orange and blue, your brother and I were probably at the same celebrations for the NCAA final 4!
www.MattOrnstein.com
Character Animator - Lucas Arts
I'm the director of Max the Mutt and want to make sure you are all aware of our program. Please check the web site, www.maxthemutt.com. We were founded 10 years ago by artists and animators, have a curriculum based on the old Warner Bros and Disney guidelines to which we've added computer courses.As far as I can tell we teach more drawing than most schools. We have been around long enough now to have grads who are animation directors, as well as animators, character designers and storyboard artists.Max grads at are at most top Canadian companies, as well as Electronic Arts , and Sony Imageworks. For a small school with small graduating classes, the success rate of our students is impressive.
Check the faculty page! Our faculty is ma up of top working professionals.We have a mandate to be available to talent: our tuition is lower than other private schools and is very fair to US and international students. We can't advertise much because we want to keep tuition affordable, but the internet and word of mouth are working for us. We have already received many inquiries for '08 and will start to accept early applications soon. For '07, we have 4 seats remaining and have applications under consideration. We will make final decisions and stop accepting applications soon. If you are looking for a school, check us out quickly. Call us at 1-877-486-MUTT, or email admissions@maxthemutt.com.
I wanted to chime in with Larry, Ken and Max.
At one of SCAD's Film Festivals, I remember when Larry asked one of the executives at Nickelodeon about drawing and how important it was. I gathered that Larry asked that question to get the exec to say that drawing was very important so all the students at SCAD could hear it.
The exec didn't get the hint. He actually said to everyone that drawing ability wasn't that important.
Animators at big studios that have posted in the Cafe have said that drawing wasn't that important.
I don't know about boulders in the void.... It really makes me think of Star Wars. Drawing skill in animators is the Jedi side of the Force. Yoda said it best about the "Dark Side".... "its quicker, more seductive". And when you have these influential people "perpetuating the lie"... It does a great inservice.
I agree with Ken that a student must take responsibility for their education and meet it halfway. You could say that "Meet your education halfway" was the mantra for Classical Animation Society for a long time. I met a lot of students at SCAD that figured that the process was like in that movie The Matrix... somehow, they'll get programmed with everything they'll need to know and suddenly know Kung Fu. If there's someone reading all this thinking that, I hope you've gotten the hint that its not that way.
I'd like to add to that... Larry hinted towards it. Your education never ends. There's always a new genre of art to learn to add to your skills. There's always new technology to translate your drawing ability into. So you need to get used to the idea that you're never going to stop learning. Look at Chuck Jones. He was working on Thomas Timberwolf right before he passed, and that was an awesome little webtoon.
Now, the chiming in being said...
I can name names of fantastically talented and award winning animators that have attended SCAD and other schools that aren't on Larry's list. I wouldn't say that they are exceptions to the rule... I'd say that they are just talented people who took hold of their education, worked hard on their skill sets and are reaping the benefits.
I'm not a school salesman... and I don't want to scare anyone. I'm saying... Listen to Ken, Larry and Max. Don't be scared (or clench your butt? haha), be realistic. Be aware of the 80/20 rule, and fight to be one of the 20%. Take what they're saying as your sword and shield. Be prepared. Or don't. It's really up to you.
Follow @chaostoon on Twitter!
Hello.
Glad to hear you met Alex and Rob-good people and VERY dedicated to the artform.
My son is getting married this summer in Laguna beach. I am hoping to have a little reunion with a whole bunch of former students.
Boy, am I glad SIGGRAPH is in Boston this year...and not L.A.
I do agree that folks need to experience other REAL festivals besides SIGGRAPH. Save your money and fly to Annecy the beginning of June- you will be glad you did.... (been to SIGGRAPH 5 or 6 times and to Annecy 3 times- Annecy wins in MY book....)...or try Ottawa
As I said, I really respect the work coming out of Ringling and kudos to the 3D teachers for getting them ready....
Matt- had dinner with Glenn- told him of your recent accomplishments.
He was pleased.
Thanks.
Larry
web site
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I’ve been looking for a distance leaning course on 2d computer animation, but have had not much success. The only sites I’ve found hove 2d as an almost secondary consideration. Any ideas? I can draw, paint (in various mediums) and just wish someone had suggested animation to me when I was younger as a career move.
These days I’d love to devote myself 24/7 but I have a mortgage, husband, kids, job (that pays the bills) etc. Also I’m not a spring chicken at 47 and I don’t have much spare cash. I’m not looking for a career, but would like to have decent criticism on what I’m doing, even if my work is pulled apart frame by frame. I can stand by my drawing but it’s the technical things I need to learn.
I’ve dabbled in 3d (made Anim8or bird walk in two weeks of spare time, made Antics characters stick their fingers up their noses) but I’m more interested in 2d.
When I say I don’t want a career I mean I don’t want to work for anyone – I’m a total control freak and want to be in command of every aspect of my animations. If it makes money – fine, if not, that’s fine too. I have ideas oozing out of my brain and am only trusting my ability in art to pull them off. I go to sleep dreaming scenes and effects.
It’s discipline I need, but from where?
okay so, i want to get into animation at some point of time, but right now my parents want me to do architecture..or engineering first.
I am not sure whether my country has any good animation colleges either,
can architecture and animation ever go hand-in-hand? i mean, is it a good idea to do architecture first then switch to animation?
oh geeez! He remembered me? I felt like no talent scum in his presence! ;-) His class was amazing, not to mention how incredibly nice he and his wife is! Another notch in the SCAD tallie! Woop woop!
www.MattOrnstein.com
Character Animator - Lucas Arts
Thanks Ape. Too bad, I spent 16k on first year if it turns out a waste. It also becomes confusing how Financial aid will work considering they want you progressing 30 credits each year - freshmen, sophmore, junior senior. If they toss out a chunk of that, I'm extremely worried about what happens to financial aid. Also, taking a year off and hoping to make it into a school that will consider me a freshman IF my portfolio is accepted.. it's a big gamble. I'm looking at other schools still open for fall 06 and seeing if a transfer to their school's animation department would be less painful, but I really want to go to CalArts. :(
Actually, after that presentation I talked with that fellow from Nick... he thought I was spoofing him- asking such an obvious question.
Look at yer man MS- left SCAD went to Art Center to learn to draw and is now a supervising animator at a large studio in H-wood...
Thanks....
Larry
web site
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[quote=confusedfool]Hello,
I’m at the point where I need to choose a school. I have been admitted into Savannah and University of California Davis; both are on Pixar’s school list.
Have you looked into Ringling? The work there seems to be exemplary! Deadline might be late though. Not sure.....:)
Wow, Larry, you could have phrased that a little differently... :rolleyes:
"your old friend... your colleague... that red headed guy...."
But he is a perfect example of what I was saying, and I can name others.
Follow @chaostoon on Twitter!
Cartoonchaos- You need to re-read my post. I said "if they are looking at
two candidates whose demo reels are equally strong". Meaning that they
are equally good animators. I did not say a good traditional animator and a
crappy 3D animator. The "50% stuff" has been told to me by multiple studios
on many occasions for many years (hint- I am not a Freshman).
If you think that Ringling is all about software and machines, you need to take
a look at the work. For that matter, a SCAD grad on this thread even said
that it was SCAD who was more about the technical side of things. Ringling's
emphasis is on animation skills and storytelling.
ScatteredLogical- 10 in the film industry yes, but more than that in character
animation. Remember that the game companies need animators too.
Larry- You like Annecy over Siggraph because you are a 2D guy. Siggraph is
important to recent college graduates because of the exposure it offers to
recruiters who are hiring. Annecy does not offer that. I agree that the judging
is all over the road these days. Come by the Ringling booth at Siggraph and
see what I mean.
OK... we have about 5 pages of stuff here now, and I am still waiting for the
answer to my question...
How many graduates were in the SCAD class of '05, and how many had jobs
(signed contracts) in the industry before graduation?
Post your stats and let's settle the original question on this thread.
Let's see which school gives a student the greatest odds of getting started in
the industry right out of school. And yes, AnimatedApe, Ringling grads are
indeed being hired to be character animators right out of school.
Thanks,
Freshman Jim.
I have so many things I want to do and so many projects on the back burner- it's time to move on...
I love the students and appreciate the college.
It's just time....
Larry
web site
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[/U] email:
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Oh, and speaking of meeting your education halfway and Classical Animation Society...
This year will mark the 10th Anniversary of the Classical Animation Society.
Hurrah. Good for them. Its a victory for taking your education in your own hands.
Follow @chaostoon on Twitter!
Jim,
I just disagree that pure stats is a fair comparison. (and wouldn't know where to get them anyway) The two schools are very different. You know SCAD is much larger and accepts a lot more people. (I think our computer art department alone is larger than all of ringling) That means there is a lot of people that shouldn't be in art school, but there are also a lot of people who didn't have an opportunity to create portfolio before college, people like me. But that doesn't mean there isn't a great program in place and students aren't placing well in the industry. All of my personal friends had jobs before graduation or very shortly after, as animators or their respective specialization, in everything from feature to gaming to television.
Also I don't know about that other SCAD grad, but MY experience at SCAD was not overly technical and had a TON of emphasis on story telling! My last four quarters were almost entirely dedicated to that.
Again, itis not the school that makes the animator.
www.MattOrnstein.com
Character Animator - Lucas Arts
Someone asked a question a few days ago about the backgrounds of the instructors at Ringling. It's our spring break so I've just now found the time to write a quick reply, but I can't find the post to quote it.
Anyway, Ringling's animation instructors come from lots of studios, but primarily Disney Feature, Pixar, DreamWorks, BlueSky, ReelFX... Some also taught with AnimationMentor before hand.
They're all insanely talented and extremely inspiring.
cathicks.com
Thanks for the kind words Kee! Been a blast working with ya so far. You certainly didn't say anything offensive at all so don't fret...after all you certainly have the experience to back you up with what you say.
Jim...as Kee and Matt mentioned I did go to SCAD and responding to your latest post I had multiple job offers and actually got to CHOOSE where I wanted to work. If it's stats you are looking for our little group of friends whom all worked together from day one all found work coming right out of school.
However, our little group also spent days and nights working passionatley on our animation fully knowing we would be competing against each other for work itself.
Both schools will give you the foundation and opportunity to pursue what you want...and both can make you equally successful. It all comes down to what you put into it.
Take your passion and make it happen...the 10 or so friends of ours including myself that all pushed each other and moulded our talents with what foundations teachers like Larry L. gave us enabled us all to either have signed contracts before graduation or find work within a month afterwards.
The same could be done anywhere else.
GO SCAD! heh...had to!
www.robtmiller.com
Animator
Neversoft Entertainment
[URL=http://www.studiopendulum.com]
[/URL]
Can anyone tell me about USC's animation program?
Is it one of the better ones out there or what?
Cat,
Thanks for making my point for me. Enjoy Glenn Vilppu this week- he is terrific!!!!
CC,
Thanks- for the CAS - anniversary - but two years ago some weanies changed the name to the "Contemporary" Animation Society. The last time it was "Classical" was when Missy Firster was prez- opps, she and fellow CASian Charlie Roode are to be hitched this weekend...
Thanks.
Larry
web site
http://tooninst[URL=http://tooninstitute.awn.com]itute.awn.com
[/URL]blog:
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Soooo... you're saying that it doesn't matter where you go to school, as long
as you work hard? No way! I think the stats are a decent way to measure the
effectiveness of a program. After all, most students are in school to get a
good job. There must be a way to show that one is more effective than
another at doing that. There is no way they are exactly equal. How would
you suggest we decide... surely it isn't by how many people who should not
be in art school each is able to convert into a viable professional!
If you have that many more students than Ringling, then you should be
placing more grads than they do into the profession. Let's take a look at
the math and see which school gives an incoming Freshman the best odds of
being hired into the industry upon graduation?
Jim.
-------
Yea, there is a way, talking to grads and finding out which ones meet your needs. (Did I also mention I got to spend a quarter studying art in Lacoste France?) I started from nothing, I got a great job, I'm happy, go bees! :D
Bottom line is this: They are both great schools. I'm certainly not trying to say one is better then the other. Ringling didn't meet my needs... and basing a decision on a school requires a lot of different considerations. Thats it, I'm out! :cool:
www.MattOrnstein.com
Character Animator - Lucas Arts
I'm trying to decide between the Art Academy in San Fran and SCAD. :o
Well, at age 47, you doubtlessly know that discpline doesn't come in a can....
Discipline is really a choice, directed by focus and held to by committment.
The tools you are wanting can be found for not a lot of money--I'd say you can get the materials that would be equivilant to a $10,000 animation school, for about $500.
With some crafty "shopping" I might add.
There's a few books, some software and whole lotta free on-line articles and tutorials that can be had that can give you everything you need to do what you want.
But the "doing" will have to come from within.
I can tell you with all confidence that you do NOT need to enroll in formal training to do this kind of craft at a professional or even competent level--its just money that you do not need to spend if you plan your self-education carefully.
The tools and resources that exist today are excellent, a full order of magnitude greater than when I began in the animation biz, so many years ago.
Set aside time to do this work, tell the family you love them dearly, pat 'em on the bum and tell them to scoot.
Then get to work for an hour or so a day--or whatever you can spare.
Success in any endeavour is processional and progressive--like compound savings, it builds upon itself in a exponential manner.
The variable here........the ONLY contentious variable--- is the intensity of the focus you bring to the task.
The more intense you apply yourself to learning the processes, the more and greater results you'll accquire.
The trick is.........navigating the time in the day and the turmoil of family life to bring that focus to bear.
Its do-able.
"We all grow older, we do not have to grow up"--Archie Goodwin ( 1937-1998)
I'm not sure, but I don't think this animation school was mentioned:
School of Visual Arts
New York, NY USA
www.schoolofvisualarts.edu
Hi, be sure to check out my blog! A few thing there, and I'll also be putting some of my work (pictures and short carttons) there too in the future: http://ukracattack.blogspot.com:)
I am also making a Flash animated cartoon that I plan to air on it's website in Fall 2008. It's called Tednut and it's about an personified peanut named Ted and his friend Kernal, and their basic adventures in their town of Sleepy Oaks, New York: http://tednut.sampasite.com:D
Hi, I haven't been on in a while. But I felt the need to post a short thread about my experiences at the Vancouver Film School's classic animation program.
They have recently boosted class sizes from 6 or 7 per class to about 20. The former department head and head instructor have just gotten the axe for resisting the new class sizes. Their replacements have had the new class sizes mandated on to them. Everyone seems flustered all the time, and there are lots of secretive meetings between the faculty and the administration.
Most of the teachers are conscientious about trying to get to everybody. At least one-- Peter-- has responded to the new class size by playing favorites in a very unsubtle way.
I have no previous training or experience in animation, and didn't pretend to when applying. The drawings, etc, I submitted were my own work, and a reasonable example of my skill level.
They had no trouble with accepting me and my student loan. But the teaching system in place depends almost entirely on one-on-one with the teachers. There are no demonstrations of techniques to the class as a whole. The assignments are given out in the form of 3 or 4 page xeroxes. There is about twenty minutes of verbal explanation, then we start working. If we want help from the teacher, we put our names up on a dry erase board. Who ever is teaching that class then comes to answer your question.
Depending on your skill level, this can mean fifteen minutes of "You're off model!" in front of a line tester. Or 45 min to an hour with the teacher answering questions, drawing for the student, etc.
I would advise prospective classic animation students to stay away from VFS unless you already have a pretty high skill level. It's going through some rather violent changes, and frankly I believe I could have learned more about animating at that Brian Lemay thing down in LA. And it would've been two months without a job, and $800 tuition instead of a year and $27,000.
You have been warned...
Acck, that's a pity. A real shame actually.
I'm saddened to hear your experience has become horrible.
Truth be told, VFS has been suffering class size issues for over a decade. When I was teaching there (starting in around 1995--stopped in 2005) I had many classes with 20 students, and very few with less than 12.
The reasons are simple: the school is a business and being such its primary goal is profit.
20 bodies in a room makes them money, 12 does not--never mind that managing 20 students, their needs and all that homework is exhausting to an instructor.
The pleas to reduce class sizes, hire TA's (to ASSIST the instructor, not teach the bloody class) and NOT cut instruction time often fell on deaf ears--although it would depend on things like who the program coordinators were.
If they had put a half dozen of us on the payroll--a weekly salary instead of part-time status--there would have been SIX highly skilled instructors floating around about to help students at pretty much any time. But it was never seen in that light--would have cost too much. Pffft.
There are people there that give a shit about the place. But they've been effectively marginalized and their voices reduced to nothing. As stated, even one of their star hires (as program head) was likely shown the door for voicing an opinion that went against managment. They'd love a big name running the programs.......but not someone that gets too big for them to handle.
VFS, sadly, is a HIGHLY politicized school. The mandate of profit before service taints the place, and has for a very long time. Bureaucracy has sacked the place, and there's unnecessary layers of it. Being hired as an instructor was once very simple--it was via word of mouth. If you were known to the staff that was working there, you were likely qualified to teach there. Nowadays, just trying to walk in the door is a pain in the ass.
It seems like those on staff are constantly running with their heads ducked--as if their salaries could be axed at any moment....
Hell, I understand that's already happened.
They have had an excellent program in the past--the materials, tools and staff are there. The incentive on the part of management is not.
I have very fond memories of teaching there, of the students, staff and colleagues there, but I could never work there again until things changed.
"We all grow older, we do not have to grow up"--Archie Goodwin ( 1937-1998)
Ringling even has an insrtuctor exchange with a school from the Northeast that specializes in drawing.
The Ringling program is smaller - but their ratio of folks working as animators at the highest levels is far, far, far greater.
[/quote]
I know that if you graduate from Ringling fine arts/ you've given a free ride with tuition for an MFA at a northern school. What's the school in the Northeast that specializes in drawing? First I've heard of this??? :eek:
Not so much a "school" question, but....I'm looking for a mentor/producer type figure to help me with my showreel. 2D hand-drawn-frame-by-frame, mainly digital. I want to get into feature animation, so ideally someone who's currently employed in the field. Any suggestions? (I'm definitely happy to pay for their time)
spandana: I studied architecture and practised for several years in the field while saving up enough to study animation. Architecture is one of the longest, most difficult courses you can do, but it can give you a good grounding in design. Learning to observe your environment, considering your end user's experience, being meticulously playful, and taking very blunt criticism after 3 days without sleep ....all these translate well to animation :D That said, architecture isn't the most stable job market, and maybe you're better off doing something less demanding and honing your artistic skills in your "own" time.
liebestrauma - http://rach3.animationblogspot.com
bobertmon
Thanks for the info on USC.
And you are right, both the CA programs at CalArts and Ringling are BFAs.
The simple truth is, they just can't effectively teach 20 students in a 1 on 1 basis. They need to demonstrate the techniques needed to complete an assignment in front of the whole class-- probably via a video camera-- for at least an hour. Just take a few key drawings through their paces: line of action, adding on volumes, structure, detail... Then the markers need to concentrate on seeing whether the student absorbed what they were taught.
As it is, we aren't really taught much of anything. We're supposed to learn by osmosis from the assignments themselves! The markers (who for the most part are anonymous) grade us on a "professional level". And it takes four to eight weeks to get anything marked and returned. When they come back, they have a few words scrawled on them like "Use structure." When? Where? I spent a couple of terms trying to draw the center lines, eyes, etc, on every drawing as I was animating. Did none of the teachers see this? Is a failing mark in itself supposed to teach you something?
I once asked Peter how it's possible to loosen up and stay on model at the same time, as I'd gotten both comments on a couple of assignments in a row. He shrugged and said, "It's not a logical process. It doesn't make any sense. I can't explain it." That, I believe, is a direct quote. And that's all he said on the issue.
About two weeks later, I bought Animating the Looney Tunes Way. Really good book-- aimed at teenagers! And right there were pictures of lines of action with ovals for the volumes of the heads, torso, etc. And it became clear. You use a model sheet or your first drawing, put it on your light box, and just keep the proportions accurate so they CAN be put on model when you're satisfied with how they're moving. Two pages of quick little illustrations that took. But Peter "can't explain" it. Not to me, anyway.
Now I'm three months from graduation and everything in my "demo reel" looks like CRAP!! Why?? Most of my class has actually taken animation courses before, and many of them have worked freelance for a number of years. Why spend the most time with the students who need your help the least?
I've done fine in every class where they actually give you the ammunition you need to complete the assignments. Life drawing, perspective, colour theory, etc. have been great. I also actually like and respect most of the instructors.
But the animation classes-- the backbone of the course-- have been a complete mess. I've struggled for months with the same misconceptions I had about animation before enrolling. Could the markers not see that I was skipping entire steps in the process because I didn't know they were there??
Mostly by buying books (more debt, thanks!) and looking over other students' shoulders, I've managed to pick up a lot of tricks in the last couple of months. And now, as I work on my final film, I'm basically teaching myself character animation as I go.
I remember seeing a post that was about a portfolio preparation service. Not sure but I think portfolio was in their title.
It might be a good idea to check with your closes university, their art department must have a few business cards that cover this sort of thing.
How the heck did that old, pointless SIGGRAPH vs. Annecy discussion end up in here? Oh...I see... :rolleyes:
Since we're discussing comparisons that have no relevance to the topic at hand - which is better, western animation or anime? :D
Yes, some are. If you get a subsidized FAFSA loan, the interest doesn't start accruing until you graduate or drop below half-time status (usually less than 6 units a semester). Other government loans, including unsubsidized FAFSA, do start accruing interest as soon as the loan is granted.
Anime is not animation... it's a slideshow. Before we let this thread slip into a
pointless 2D vs. 3D discussion, I agree with DSB as to getting the topic back
on track.
If a larger percentage of successful results doesn't make one more effective
than the other, then what does?
Jim.
----------
Congrats on getting hired Matt! :D
"Animation isn't about how well you draw, but how much to believe." -Glen Keane
If nothing else, I believe that you believe what you're saying, Jim. As a matter of fact, I'm convinced! :D
thanks for the information , i'll try to search more about it
شركة تنظي٠ÙÙŠ الدمام مؤسسة نظاÙØ© بالدمام شركات تنظي٠منازل ÙÙ‰ الدمام شركات تنظي٠المنازل ÙÙ‰ الدمام
Gee thanks. I believe that you believe what you are saying too.
Jim.
----------
Cool. Thats one of those things I'll gladly be wrong about. Oh, and thanks Robo for saying what you and Rob got hired for.
Mahalo,
the Ape
...we must all face a choice, between what is right... and what is easy."
Hello.
Because the SCAD program is so large it does give MORE folks a chance... AND they have a good number of folks coming out and going right into the industry as character animators. SCAD does offer more options like 2D and Stop Motion (Hal Miles work with Ray H.), Flash and experimental animation. We are not honed in on just one aspect but several...
Most Festivals including Annecy and Ottawa have job fairs - with all the majors- including Pixar present. Okay- so maybe the gaming companies are well represented- but these are FILM Festivals (where folks make shorts). I find the atomspheres great and more condusive to civilized life. And - it's not a 2D vs 3D thing- think in broader terms.
Thanks.
I really do respect the Ringling program...I hear they have more drawing in the base program- I like that...always will.
Larry
web site
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hey,
going to tisch would be great if they didnt rape you for tuition.
I love NYC but i wouldnt want to go to NYU. Doesn't seem worth the years of debt you're putting yourself into.
How's the Art Academy of San Francisco?
Actually, what's probably the best school with animation and film majors in Cali?
Best, meaning, you actually get some college expiriences in between the thousands of drawings you're gonna be doing. haha
Yea, Ringling's deadline is long past for this upcoming semester... Glad to see you like our school though!
I just got back from the 2006 CA Thesis show. Wow, really impressive. Keep your eye open for their work on the website. (Not sure when they get updated).
1 Timothy 4:12 - "Don't let anyone look down on you because you are young, but set an example for the believers in speech, in life, in love, in faith and in purity."
Hi,
Anyone here from Sheridan or Seneca? I have applied to both of these for Computer Animation. If I get accepted (fingers crossed), which one would you recomend?
thanks.
Wow, its been a long time since I’ve posted in this thread! Been a long time since I’ve read it, to be honest…
I’ve been reading some, and I’ve noticed how some folks might be put off by SCAD or Ringling based on that old back-and-forth here…
I’ll say this: I apologize again for that and promise that passion will not stand before reason with me again. I’ll also say that you shouldn’t base your final decisions on ranting and raving. Go to SCAD. Go to Ringling. See their facilities. Ask questions. If you’re too far away to do that (like I was), get the school’s DVDs and email folks. At the end of the day, you need the talent to get out there.
I’m also glad to see that my back-and-forth isn’t the only one! Catalyze passion.
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That makes sense... so with all of those extra students and all of those extra
opportunities, then the SCAD class of '05 should have many more grads placed
than the Ringling program. Can we see those numbers?
Jim.
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