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ANIMATION WORLD MAGAZINE - ISSUE 5.02 - MAY 2000
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Pulling Yourself Together: The Professional Portfolio LL: Where is the industry going? FG: We're seeing more and more 3-D and stop-motion animation, as well as what we think of as "traditional" work. And there are more hybrid projects; using a combination of disciplines. Web-based venues and TV work are also expanding. The future will see more hybrid feature productions. And studios are trying to gear more toward straightforward production paths rather than the "crash and burn" methods of the past. Studios want to maximize their artists’ potentials; have the ability to flow from one project to another. This will keep production costs down and enable the studio to use more focused crews. The future will also see the advent of animated characters which look and act more realistically and work well (read, without being identified as computer generated) within the environment created for the film project. Even in the live-action arena, we'll be seeing more computer animated characters -- "synthesbians" is a word somebody made up to describe these "virtual" actors. The digital process will allow a live-action filmmaker to make (or remake) a picture on the scale of Ben Hur, for instance, with a large "virtual" cast for the coliseum and battle scenes. Not unlike the crowd scenes generated today for animated feature films. LL: What is the number one challenge you have in training? FG: Keeping up with technology, either "off the shelf" or as it comes into proprietary use. Today's animators have to adapt and be always ready for new information, yet they have to maintain their traditional skills. Computer skills can be taught...and traditional skills have to be brought along, comfortably, into the mix. For the purely technical folks, without the benefit of fundamental artistic approaches -- making good decisions about their animation (as opposed to their software) is much more difficult. LL: Finally, Frank, how much does attitude count? FG: Attitude and communication skills are very important...even more so in today's industry. We used to say that some applicants came in " fairy dusted," somewhat starry-eyed about the animation industry. Today the atmosphere is different, perhaps a little more realistic. Rose-colored glasses are not in fashion now, which can mean that folks need to keep their energy up...even in "down" time. Communication skills are extremely important. Dealing well with other people, working well with other artists...even though your views may differ. Today's artists need to develop good communication skills or they will not advance. Listening, following directions, being able to explain themselves clearly...these are all vital assets for individuals entering today's industry. They need to be able to hear the information, understand it, decipher it and act on it. Candidates need to be well rounded, too. This might sound a little like heresy, but students shouldn't spend all their time in college drawing and developing a portfolio...that is not enough. A student should take time to develop as a person as well. Take classes in literature, language, communications, history (art and otherwise). Learn something about film and its visual language, light and shadow, perspective, contrast and affinity, use of plot and character. The more an individual brings with them to a studio, the more their chances of success. I appreciated Frank's generosity with his time. His update was informative and concise. As always, a constant aspect of today's industry is change. Change in technologies, production methods and specific skills. Another constant element is highly developed drawing and artistic skills (whether at the board or on the computer). The "virtual" landscape will continue to change. The concept of one canvas with hundreds of artists working on it, each contributing to the whole, will never change. It is a part of the charm of the art form. Larry Lauria is an animator/educator with 25 years in the industry. When not working on his current millennium animation project, 2KJ, Larry keeps himself busy working as a free-lance animator and classical animation instructor. He can also be found designing animation curricula, or traveling around the world giving animation workshops and master classes. His Web site "The Toon Institute" is a part of the AWN family. |
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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